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201 on Catalogue 


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From Sir Henry Raeburn 


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CATALOGUE 07 


OF AN IMPORTANT COLLECTION OF 


OIL PAINTINGS 


BY OLD AND MODERN MASTERS 


I a VALUABLE AUTHENTICATED RELICS OF 


“LORD BYRON AND NAPOLEON 


FINE BRONZES, OLD CHINA, ENAMELS, BRIC-A-BRAC 


ANTIQUE FURNITURE 
FINE OLD’ RUGS, Etc., Etc. 


BELONGING TO 


_SENHOR SALVADOR DE MENDONCA 
BRAZILIAN MINISTER 


TO BE SOLD AT ABSOLUTE PUBLIC SALE ON 
Monbay, TUESDAY AND WEDNESDAY, APRIL 24TH, 25TH AND 26TH 
AT 3 AND 8 O'CLOCK P. M. 


AT THE AMERICAN ART GALLERIES 


Mapison Square SouTH 
Where the Collection will be on Exhibition Day and Evening from April 19th 
until Date of Sale inclusive O 


- THOMAS E. KIRBY THE AMERICAN ART ASSOCIATED 


AUCTIONEER MANAGERS On 
NEW YORK “Y 


Ce 
pe 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dis- 
pute arise between two or more Bidders, the Lot so in 
dispute shall be immediately put up again and re-sold. 


2. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money 2/ reguired, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 


3. The Lots to be taken away at the Buyer’s Expense 
and Risk upon the conclusion of the Sale, and the remainder 
of the Purchase-money to be absolutely paid or otherwise 
settled for to the satisfaction of the Auctioneer, on or before 
delivery ; in default of which the undersigned will not hold 
themselves responsible if the Lots be lost, stolen, damaged, 
or destroyed, but they will be left at the sole risk of the 
Purchaser. 


4. The sale of any article is not to be set aside on account of 
any error in the description, or tmperfection. All articles are 
exposed for Public Exhibition one or more days, and are sold 
Just as they are without recourse. 


5. To prevent inaccuracy in delivery and inconvenience 
in the settlement of the purchases, no Lot can, on any 
account, be removed during the sale. 


6. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited ; all 
Lots uncleared within two days from conclusion of sale 
shall be re-sold by public or private Sale, without further 
notice, and the deficiency (if any) attending such re-sale 
shall be made good by the defaulter at this Sale, together 
with all charges attending the same. This Condition is 
without prejudice to the right of the Auctioneer or Managers 
to enforce the contract made at this Sale, without such 
re-sale, if they think fit. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. Kirpy, 


Auctioneer. 


NOTE 


The American Art Association are indebted to 
Munsey’s Magazine for their permission to reproduce | 
illustrations of the Byron Relics and descriptive matter 
relating thereto. 


ARTISTS REPRESENTED 


Albani, F., 92. David, L., 5. 

Armfield, G., 45. Davis, C. H., 36. 
Bachman, G., Ig. __ Davis: Te. 26: 
Backhuysen, L., 212. Decamps, A. G., 107, 174. 
Bager, J. D., 183. De Haven, F. H., 73. 
Baker, W. B., 71, 72. De Keyser, T., 208. 
Bernardelli, F., 83. Delacroix, F., 177. 

Blake, B., 29. De Neuville, A. M., 191. 
Boel. 43. De Nos iC W379 7. 
Bonington, R. P., 27, 30, 64,{ Dietrich, C. F., go. 

114. - Dobson, W., I99. 
Boucher, F., 3. Domingo, J., 138. 
Boudewyns, 164. Dupré, Julien, 176. 
Bourguignon, J. C., 76. Etty, W., 180, 

Bout, P., 164. Figueiredo, F. A. de, 11, 12. 
Brias, ‘C., 135. Fortuny, M., 66. 
Bridgman, F. A., 115. Fraser, A., 25. 

Brissot, F. S,, 106. Frere, ‘1 ., 173; 

Carr, L.,.216. Gainsborough, T., 113. 
Castagneto, 170. Gavarnis, P., 79. 
Chardin, J.-B. S., 103. Géricault, J., 75. 
Cipolla, F., 84, 153. Giorgione, 35. 

Coello, C., 140. Greuze, J. B:,°127- 
Compte-Calix, F., 81. Pais ee, 

Constable, J., 195, 196. Hals, Fy 28) 211) 
Copley, J. S., 68. Hamon, J. L., to. 
Corot, J. B. C., 129. Harding, C., 124. 
Correggio, A. L., 41, 42, I4I. Hart, W., 18. 

Cotman, J. S., 155. Herring, bP 3 157, 
Creswick, T., 55. Hogarth, W., 197. 
Crome, J., 194. Hondekoeter, G. de, Igo, 
Cuyp, A., 9. Hiibner, E., 116. 


Daubigny, 110, Ibbetson, J. E., 11g. 


Isaacs, O., 178. Reynolds, Sir J., 198. 


Isabey, L. G. E., 160. Ribera, J. de, 69. 

Jones, B., 111, 169. Rice) Sc $0) 

Kalf, W., ror. Richet, L., 109. 
Kindleberger, D., 77, 78, 145. Roos, P., 189. 

Kneller, Sir G., 53, 191, 200. Rowlandson, 98. 
Latouche, L., 108. Rubens, P. P., 48, 125. 
Lancret, N., 126. Rudell, P. E.; 14. 

Lely, Sir\P., G2, 102. Rugendas, G. P., 102. 

Le Nain, Ati2a) Ruysdael, J., 44. 

Leslie, C., 38. Seignac, P., 85. 

Leys, Baron H., 31. Smirke, R., 59. 
Lingelbach, J., 52. Soulé, E., 21. 

Hinnel, \J., 23. Stanfield, W. C., 54. 
Madrazo, R. de, 22. Stark, J., 204. 

Magg, F., 33. Swagers, F., 86. 

Mann, P., 146. Teniers, D. (the younger), 57. 
Marilhat, P., 175. Trioson, G., 104. 
Martinelli, D., 70. ‘Turner, J. NEW. 69)) 205, 
Mans, F. H., 133. Van der Helst, B., 4o. 


Michel, G., 46, 60, 105, 128, 130. | Van der Neer, A., 17, 134. 
Morland, G., 8, 49, 96, 121, 122,}| Van de Velde, A., 62. 


123, 262. Van Dyck, Sir A., 210, 
Morot, A. N., 132. Van Goyen, J., 58. 
Muller, W. J., 50, 56, 120, Van Hemskerk, E., 167. 
Muraton, A., 82. Van Kessel, J., 74. 
Murillo, B., 142. Van Marcke, E., 172. 
Mytens, D., 165. Van Mierevelt, M. J., 136. 
Norman, A., 6. Van Mieris, W., 209. 
Nourse, E., 34, 171. Van Ostade, I., 163. 
Opie, J., 63. Van Slingellandt, P., 166. 
Oudry, J. B., 100. Van Troyen, R., 185. 
Owen, W., 193. Velasquez, D. de R. de S. y, 139. 
Panini, G., 147, 148, 184. Vernet, J., 144. 

Peale, R., 117. Veronese, P., 214. 
Pelouse, L. G., 67. Veyrassat, J., 112. 
Pennell, H., 118. Vonk/\Ji.) 85, 

Pils, 1:, 159. West, B., 181. 

Podeum, 51. Weyl, M., 15, 37, 99, 152. 
Potter: PF. 202. Wilson, R., 65, 203. 
Pujol, A. AD. de,’ 32. Witherington, W. F., 182. 
Pynacker, A., 47. Wouwerman, A., 186, 187. 
Raeburn, Sir H., 207. Zucchero, F,, 206, 207. 


CATALOGUE 


Pano NIGHT'S SALE 


MONDAY, APRIL 24TH 


@ 
AT THE AMERICAN ART GALLERIES 
BEGINNING AT 8 O’CLOCK 
on GO Mas I f es ty 5 e - 
SAY, ahead Bite “ 


4 al 
“ “SCHOOL OF POUSSIN 


Bacchanals 


Height, rr inches; width, 28 inches. 


2 


Dian 
olga ee. Yafele 


SCHOOL OF POUSSIN 


Bacchanals 


Height, 11 inches ; width, 28 inches. 


7 


FRANGOIS BOUCHER (Attributed to) Paris 
1703-1770 


| 2 | 
| } 
co “y deteohoe 
a 3. dercletreAmty © 
| 
| 


The Whistler 


{ 

} 

i Height, 13 inches; width, 10 inches. 
} 

| 


Jf 


: 4 / say e 
UNKNOWN » 4. 
 Ladya 7 7h de 


nd Parrot 


Copy of painting by Franz Mieris, now in the Munich Gallery. 
Height, 10 inches ; width, 8 inches. 


! LOUIS DAVID | Ps 
I 1748-1825 ‘ee 


Pygmalion and Galatea 


Height, 12 inches; width, 9 inches. 


| » 5d” , 6 e / : 

on ps Shad a 

ADELSTEEN NORMANN Norway 
Contemporary 


Norwegian Landscape 


Height, 12 inches; width, 14 inches. 


Haarlem 


Bi he / 
he / me Was z 
7 SY DL Or ANCL? 
‘lls DIRK HALS an 3 
1600-1656 


Dutch Portrait 


Height, 20 inches ; width, 16 inches. 


8 


z4 » 


GEORGE MORLAND ~England 


Born in London, June 26, 1763; died there October 29, 1804. 
Son and pupil of Henry Robert Morland, portrait painter 
(1712-97), and grandson of George Henry Morland, figure painter ; 
studied also in the schools of the Royal Academy. Exhibited for 
the first time at the Royal Academy in 1779, and is celebrated for 
his country scenes with domestic animals, and his landscapes and 


marines, 
Feeding the Pigs 

Height, 18 inches; width, 14 inches. 
2 3a 9 ihe Hogi Phradh 
ALBERT CUYP (Attributed to) Holland 4 
1620-1691 qi 
Cows by the Riverside at Sunset q 
Height, 13 inches; width, 17 inches, , 
> / 
- 1) a) 
Lv ries fhe A CPOE 
‘JEAN LOUIS HAMON Paris i 


1821-1874 


“Don’t Cry, Baby” i 


Height, 18 inches ; width, 14% inches. 


? 4 fy A 
tt Poe té¢btleanal 


es 8 
F. AURELIO DE FIGUEIREDO Brazil 


This Brazilian artist, better known by his historical compositions 
and portrait painting, studied in Italy and France in company of 


9 


Rn 7 40 


é 


Pim , 


6 


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o~ 


oe 


his elder brother, Pedro Americo de Figueiredo, who stands : 
among the best Brazilian painters of this time. Studio in Rio de 
Janeiro, 


Aqueduct Road, Santa Teresa, Rio de Janeiro 


Height, 29 inches ; width, 23 inches. 


12 . Lioledbohtr 


F. AURELIO DE FIGUEIREDO Brazil 


Contemporary 


Aqueduct Road, Santa Teresa, Rio de Janeiro 


Height, 28 inches; width, 23 inches. 


/] 


(J J 
A Monkey 
° 


13 
FRENCH SCHOOL 


Venus and Adonis 


Height, 41 inches; width, 3134 inches. 


ee aw bp 


P, E. RUDELL | United States 
Landscape 


Height, 22 inches; width, 36 inches. 


eye i 
15 Q PA Ai vate 


MAX WEYL | United States 
Contemporary’ . 


Cherry Trees 


Height, 33 inches ; width, 28 inches. 
Io 


| - 
I 


} 


a7 | ; 
a. fo ; 16 


English Landscape with Sheep 


Height, 25 inches; width, 22 inches, 


se “a. vA : 
ARTUS VAN DER NEER Holland 
1619-1683 


A Lurid Sunset 


No. 28 in the Ehrich Collection. Signed on the lower right-hand 
corner with initials, ‘‘ He sometimes painted sunset—in which the 
glowing richness and harmony of his coloring approach the excellence 
of Rubens and Rembrandt.” —SPooner. 

; Height, 23 inches; width, 29 inches. 


A ?. veg ) 18 4 
WILLIAM HART United States’ 
Contemporary 


Jersey Landscape with Cattle 


Purchased from the artist. 
Height, ro inches; width, 9 inches. 


G. BACHMAN Be Austria / 
.Contemporary . v 
Stable with Horses 


Height, ro inches; width, r4 inches. 


II 


2° 19 vy b. Cte | 


f 


DUTCH SCHOOL Ctant 
Portrait of Admiral van Tromp 


With a beautiful marine background. The portrait was evidently 
painted by a second-rate artist, while the background is such a 
- beautiful work that it can be attributed to William Van der Velde. 
This picture was for many years in the possession of the Woolsey 
family. No. 613 of the Woolsey sale. 
Height, 16% inches; width, 15% inches. 


2 ay en Durant 
BUG. SOULE France 


Interior of an Old Abbey 
(Water Color) 


Stamp of Soule’s sale ; 2470 in the J. J. Peoli collection. 
Height, 8 inches; width, zo inches. 


) 22 + () pega: 


RAIMUNDO DE MADRAZO Spain 


Contemporary 


Head of a Woman 


Height, 16 inches ; width, 13 inches. 


~y } ” f iy a : 
23/7" Ds wa arthur Anr 
JOHN LINNEL England 


1792-1882 


AN Nie 


English Landscape 


Height, 10 inches; width, rs5 inches. 
I2 


Giga em Sh . 


ten 


ml AOE 


rt 27 a 7 24 es ia 


ANTOINE LE NAIN France 


1598 

Kettle Mender | 

Height, 9% inches; width, 1134 inches. i 

Se i 

2). 6 7 A.C 
. CY ° ae he CA bi 
ALEXANDER FRASER England fi 

: ; aM 
1786-1865 ‘ 

Scotch Scene 5 

Height, 1x inches; width, 9 inches. ] 

q 

Cl 

q 

z eo ‘ 
Ve 5.¢V 26 A he y 
HENRY DAVIS, R.A. -. England i 
L | 

Contemporary | 

The Haystack f 

| 

Height, 9 inches; width, 10 inches. t 

| 

LN ty 

ie if VAP. iil 
; Pein the i 

ay all f Pe td tu 
a 

RICHARD PARKES BONINGTON England i 
fl 

Born at Arnold, near Nottingham, England, October 25, 1801; H 

died in London, September 23, 1828. He was taken to Paris when a 
fifteen years of age by his father, a poor portrait painter; copied 1 
pictures in the Louvre, and became a student at the Ecole des 4 
Beaux-Arts under Baron Gros. He won a gold medal in Paris in i 

13 i 


1824 for a picture of a marine view, and shortly afterward went to 
Venice, painting pictures there which brought him reputation and 
financial success in England. His brilliant career was cut short 
by a sunstroke, which caused his final illness. He is commonly 
classed with Constable as one of the founders of the modern school 
of landscape painting. | 


The Seine below Havre 


Signed with initials R. P. B. 
Height, ro inches ; width, 14 inches. 


: OS ks Paral 28 Ke 


rR FRANS HALS Holland 


Three Jolly Fellows 


Signed with monogram on the chair. Purchased in Amsterdam. 
Height, 11 inches ; width, 9 inches. 


B. BLAKE England 
1830 


Still Life 


Height, 6% inches; width, 834 inches, 


Og 7 | OL 
RICHARD PARKES BONINGTON England 


1801-1828 


Venice 


Height, 6 inches; width, 9 inches. 
I4 


a Uctle yy ne 


BARON HENDRICK LEYS Belgian School 
1815-1869 


The Letter 


Purchased in Paris. 
Height, 1534 inches; width, 12 inches, 


ed. 7? Be Pig Ne eps ce 


ABEL ww) DE PUJOL France 
1785-1861 


Sunday Breakfast in the Country 
(Water Color) 


Examples of Pujol, the master of A. G. Decamps, are rarely met 
with; his pictures have the brilliant coloring found in those by his 
famous pupil. The costumes of the figures in this picture are quaint 

, and show that it was painted about the time of the Restoration. Pur- 
chased from M. Oudinot of Paris. 
Height, 8 inches; width, 9 inches. 


~~ ff . (a 
a8. 7h 33 Ce. Cepia 
FRANCOIS MAGG Germany 


This painter of the German School reproduced successfully at the 
beginning of this century the beautiful coloring of Rubens. 


y Venus 


Height, 10% inches ; width, 13% inches. 
15 


pean 


es 


Sets SS 


ee 
Bulk bvirieg Bie al le Tian Ig yds 


pr 


Pea ENED IDOE LT a te Terug ay Ee ERTS 


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Bea 


bd 
( e OQ oF 
s ’ L, Laglterin 


ELIZABETH NOC i, United States 


Contemporary 


The Milk Carrier, Etaples 


Exhibited at the Paris Salon of 1890. Miss Nourse is one of the 
most successful American artists, and for a number of years has studied 


in Europe. 
Height, 46 inches; width, 30 inches. 


Se e Aree 
““GIORGIONE Piles trea 


Interior and Figures 


_ This picture of the great Italian master was brought from Northern 
Italy at the end of the last century, and remained in Philadelphia and 
Washington since then in possession of an American family. Pur- 


chased in Washington. 
Height, 21 inches; width, 27 inches. 


:, aR ee 
® 0 Aes 


CHARLES) Ho IASC isis United States 


{/ 
Frosty Morning in Normandy 


Bought from Knoedler & Co., at an exhibition of the artist’s works. . 


Height, 18 inches; width, 26 inches. 


37 BA & Ae. 


MAX WEYL United States 


Contemporary 


Keene Valley—Adirondacks 


Height, 28 inches; width, 42 inches. 
16 


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8 ais fe Lf —p 4 ¢ j 
is 7 u dultrre 


ae / 
CHARLES LESLIE, R.A. (/ England 


1799-1859 


This artist, born in Philadelphia, shared with Copley and Ben- 

jamin West the honors of a membership in the Royal Academy at 

the beginning of this century. His pictures are in the principal , 
museums and collections of England, and are notable for their 

coloring. 


St. Jerome 


Height, 18 inches; width, 13 inches. 


, & 

| Me SAD ss 
Jo 39 Sf faa 
SEBASTIANO RICCI Italy 


1662-1734 


Portrait of Savonarola 


Height, 18 inches ; width, 14 inches. 


oe 
40 WS ra frit 
Peon 76. del Cral 
B. VAN DER HELST Holland i 
1611-1670 


Portrait of a Priest | 


No. 2574 in the Peoli collection. . 
Height, 2134 inches; width, 18% inches. 
2 17 


Te ASG 


Se oe Diane eile ee Ee a 


27. 32 41 O tute Aig er > q 
| ANTONIO ALLEGRI CORREGGIO Venice 
1494-1534 
Nymph and Satyr 


No, 2517, from the Peoli collection. 


Height, 9 inches; width, 12 inches, 


rs " 39 i InWihne q 
ANTONIO ALLEGRI CORREGGIO Venice = 


1494-1534 


Nymph Fleeing from a Satyr 


This picture was once in the Bibliotheca Ambrosiana. 


Height, 6% inches; width, 9 inches. 


fe Ay 
Cd * I, a ne. 
FERDINAND BOL Holland 


T6TI—1681 


Head of an Old Man 


This picture, falsely attributed to Rembrandt, was bought in 
Amsterdam. 
1 Height, 25 inches; width, 20 inches, 


18 


JACOB RUYSDAEL Holland 


Waterfall 


From the Dutch collection of old masters exhibited at the World’s 
Columbian Exposition at Chicago. 


Height, 14 inches; width, 1834 inches. 


ay ei 


“9° GEORGE ARMFIELD England 


Dogs 


A picture of four dogs—a black greyhound, a black and white span- 
iel, a terrier, and another small spaniel—in an interior with a table and 
dishes. The grays, blacks, and browns form an agreeable color har- 
mony, and the dogs are studied with knowledge. 


Height, 12 inches; width, 16 inches. 


ae 


46 


3/02 Pp df Lira 


GEORGES MICHEL | bance 


Born in Paris in 1763; died in 1843. Pupil of Taunay and was 
known in his time as a fine copyist. He had but little reputation 
in his day as a painter, but his pictures are now classed by many 
critics with the work of Decamps and the Barbizon Group. His 
landscapes are much sought for by collectors. 


Landscape near Paris 


A broad road leads down hill from the foreground, winding into the 
middle distance. A flock of sheep and some small figures are seen at 
the bend in the road, and there are windmills on the left. The middle 


1g 


8) 


distance is in shadow, and the hills at the horizon are lighted up by 4 
ou ee gleam of sunshine. The sky is heavy with clouds of gray, white, and 
black, and the picture is firmly composed in color masses and great lines. 

Height, 23 inches; width, 28!4 inches. 


63.7 47 aA Cri rrr 
ADAM PYNACKER Holland 


Born at Pynacher, near Delft, Holland, in 1621; died in Amster- 
dam ; buried March 28, 1673. When very young, he went to Italy 
and studied there three years. Works in various European mu- 
seums and private collections. 


View of an Italian Port 


A rich merchant and other figures in the foreground ; on the right, 
a ruin and ships in the distance. A boat is about setting sail, and 
there are evidences of life and movement in various parts of the picture. . 


Purchased at The Hague. 
Height, 11 inches ; length, 16 inches. 


ae 2 
/ y %. y fe 
DD he . OF ede oh 
PETE RYPAU DL RU Bien oa Belgium 


Born at Siegen, Westphalia, June 29, 1577; died at Antwerp, 
May 30, 1640. Studied first at Antwerp from 1596 to 1600, when 
he went to Venice. His copies after Titian and Giorgione at- ~ 
tracted the notice of the Duke of Mantua, who made him court y 
painter. Went to Spain as the Duke’s messenger with presents 
for the king. In 1605 Rubens went to Rome to continue his 
studies ; in 1609 became the court painter of the Archduke Albert 
at Brussels. Commissions crowded upon him at this time, and en- 
riched by his wife’s dowry (Isabella Brandt) he built himself a 
palace at Antwerp. After eleven years at Antwerp, where he had 
numerous pupils, Rubens went to Paris in 1622 to decorate for 
Marie de Medici the Luxembourg Palace. These twenty-one 
pictures are now in the Louvre. In 1624 he was ennobled by 
Philip IV. of Spain, and the Archduchess Isabella made him her 
gentleman-in-waiting. He was sent by her to England as Am- 
bassador in 1627 to negotiate peace between that country and 
Spain, In 1630, his wife having died in 1626, he married Helena 
20 


Fourment, his niece by marriage, and about this time executed 
commissions for Charles I. of England and Henri IV. of France. 

In 1631 he resumed his diplomatic career. Painted with great 
assiduity and power, in spite of various annoyances and suffering 
from the gout, until his death; and his works, many of which were 
in part executed by his pupils, number over two thousand. 


The Rape of Proserpine 


This is the first state of the celebrated painting by Rubens, who 
treated the same subject more than once. The figures of Pluto and 
Proserpine in this picture were painted by Justus Sustermans (1597- 
1681), a friend of Rubens and Van Dyke; the sea and sky and the 
spirited horses are by Rubens. The composition shows Proserpine 
held in the arms of Pluto in achariot which three horses are drawing 
through the ocean. The blue and crimson draperies harmonize with 
the strong tints of the other factors in the composition, and the work is 


one of great distinction of color. 
Height, 12% inches; length, 17% inches. 


. c e CL rae ¢ . oo ( / ‘ 
GEORGE MORLAND England 
Pigs 
An admirable picture of these domestic animals which painters have 
so often depicted. A large sow lies in the yard under the trees and 
three little pigs are feeding in a trough or basin. Another is climbing 
over his mother’s back. The color is both veracious and fine in quality, 
and the painting of the animals is masterly. The warm pinks, yellows, | 
whites, and blacks used in the color of the pigs are delightful in their | 
artistic harmony. i 
Height, 13% inches; length, 17 inches. Y 
. 4 
. oe 50 Ca Lyk on 
a SG ah “AAAA " 
WILLIAM JAMES MULLER England H 


Born at Bristol, England, June 28, 1812; died there September 8, 
1845. Son of a German clergyman who was Curator of the 
Bristol Museum, and pupil of the landscape painter J. B. Pyne. 


21 


ag) 


Exhibited ‘‘ Destruction of Old London Bridge” at the Royal 
Academy in 1833. Visited Germany, Italy, Greece, and Egypt, 
1834-1838, and accompanied the Expedition of Sir Charles Fellowes 
to Lycia, bringing back many studies of Oriental scenes and types. 
Two of his pictures are in the National Gallery, London. 


Arabs Resting 


On a rug spread on the sand some Arabs are resting in a desolate 
country with ruins in the distance and a camel near by. ‘The place is 
bare and rocky, with high hills on the left, and the sky of deep blue is 
broken with clouds. A strong, effective work with a well-managed — 
color scheme of positive tints. 


Signed at the right. Height, 19% inches; length, 26 inches, 
, hp 
Ca al i bor 
ANTONIO PODEUM Antwerp 


Eighteenth Century 


Portrait of Max: F. Z. L. W. 


This portrait shows a man of calm and dignified expression with his 
face turned full to the spectator. The left hand, holding a glove, rests 
on the hip, and the costume consists of a breast-plate and a crimson 
velvet coat. On his head is a curled and powdered wig. An inscrip- 
tion on the back of the canvas shows that the picture was painted in 
Rome in 1710. It is as follows: ‘‘Max: F. Z. L. W. Antonio 
Podeum Fiamengo F. Roma 1710.” The background is dark and the 
color scheme is rich, with a fine general tone. 


Signed on the back. Height, 37 inches; width, 29 inches. 
Bg 
52 wy. J : [tram 
JOHANNES LINGELBACH Holland 
1625-1687 


On an Italian Road 


The scene shows a group of peasants who are interested in the card 
tricks performed by an old man who is kneeling on the ground. On 


22 


his left isa man mounted on a donkey and playing a mandolin. At 
the left of the picture, where a hogshead stands, covered with a white ° 
cloth and a pitcher upon it, is a man offering a glass toa woman, who 
turns away to watch the conjurer. Another peasant nearby is smok- 
ing his pipe. With his back to the spectator, in the foreground, is a 
man, and on the right of the composition are a woman and a child. A 
woman washing clothes at a fountain. and a man tying his horse ina 
shed, appear in the background, where there is a house with plaster 
walls and tile roof. At the left is a patch of sky and some trees. The 
composition tells the story well, and the color is varied and interesting. 
Purchased at The Hague. 
Height, 1934 inches ; length, 26 inches. 


Va 53 i» fe 4 . 


SIR GODFREY KNELLER, BART. Mie 
Dutch School 


Born in Lubeck, Germany, August 8, 1646; died at Twickenham, 
England, November 7, 1723. Classified as belonging to the ~.. 
Dutch School, and said to have studied under Rembrandt and 
Ferdinand Bol at Amsterdam. In Rome he was probably a pupil 2 
of Carlo Maratta. He was induced to go to England in 1674, and | 
was*so much favored by Charles II. that he decided to remain 
there. After the death of Sir Peter Lely, he was made court i 
painter. William III. knighted him, and Queen Anne made him F 
a baronet. He was the leading portrait painter of the day, and / i 
the Beauties at Hampton Court, and a number of works in the 

National Gallery show his style and facility. 


The Duchess of Portsmouth 


From the collection of C. L. Brock, F.S.A. This portrait shows 
a fine lady with a décolleté robe of red, with white sleeves, her right 
hand holding a sprig of apple blossoms, and her left hand resting on 
a piece of drapery which covers a table or stand. The head is slightly 
turned on the graceful neck, and the aspect of the picture is in every 
way distinguished and elegant. ‘The color is rich, and the painting 
suave and harmonious. 

Height, 34% inches ; width, 30 inches. 


23 


e 


wi. 6 =a ( l > = eae eae 
WILLIAM CLARKSON STANFIELD England 


Born at Sunderland, Durham, England, in 1793 ; died at Hamp- 
stead, May 18, 1867. He began life as a sailor in the royal navy ; 
became a scene painter while still a young man, and then took up 
landscape and marine painting, in which he was very successful. 
Elected a royal academician in 1835. After a visit to Italy in 1813 
he painted a number of Italian landscapes. He excelled as a 
painter of naval engagements and seaport views, 


Off Portsmouth 


This marine view shows the sea, with Portsmouth in the distance at 
the horizon, and a man-of-war in the offing. In the foreground is a 
, sailing vessel lifted up by the waves. The water, blown by the breeze, 
with white spray on the crests of the waves, is admirably depicted, and 
is transparent and beautiful in its tints of blue and green. The sky, of 
gray and white clouds, with a little blue, is atmospheric and clear. 
The effect of the picture is true to nature and unified in ensemble. 


Height, 17 inches; length, 24 inches. 


i af yes fas 
O wf). ae 3) 55 0 pr. Pa CA UAAL 
THOMAS CRESWICK England 


Born in Sheffield, England, February 5, 1811; died at Bayswater, 
December 28, 1869. Pupil of J. V. Barberof Birmingham. Went 
to London in 1828 and exhibited views of Welsh and Irish land- 
scape ; after 1840, views from the North of England. Elected a 
Royal Academician in 1851. His ‘‘ Pathway to the Village Church ”’ 
is in the National Gallery, London. 


Landscape in the North of England 


The scene shows a hay-field with men and carts at work and an 
enormous hay-stack. A cottage is seen embowered in the trees on the 
right, and a woman in a red cloak in the foreground is going toward the 
house. In the distance is a village with a church tower. The sky is 
full of white clouds with a bit of blue near the top of the canvas. The 


o4 


general aspect of the picture is light, and the color is fresh and agree- 
able in tone. The work shows great truth of observation and is a pic- 


turesque scene of country life. 
Height, 20% inches ; length, 27 inches. 


Ay 
= Fei 
y, a 


2 sae 5 A> & oO Vee 
WILLIAM JAMES MULLER England 


Oriental Landscape with Figures 


Four Arabs are seen seated in a tent pitched among some ruins, and 
a dragoman, dressed in a crimson robe and white turban, stands near 
by, leaning on a staff. A camel appears back of the tent with a load 
on his back. Among the ruins are some tall, ornamented columns, and 
the sky shows the clear blue of the Far East. The color scheme is 
brilliant and effective, and the picture is painted with knowledge and 


force, 
Height, 19 inches ; length, 26 inches. 
ih f fi “Py 
a ae 57 re oe la pel LAL 
DAVID TENIERS the Younger Holland 


Born in Antwerp, baptized December 15, 1610; died at Perck, 
near Brussels, April 25, 1690. Son and pupil of David Teniers 
the elder ; developed under the influence of Rubens and Brower ; 
Master of Antwerp Guild in 1632; its dean, 1644-45 ; court painter 
to Archduke Leopold Wilhelm, Governor of the Netherlands ; 
prime mover in the foundation of the Antwerp Academy; favored by fl 
Don Juan of Austria, Archduke Wilhelm’s successor ; received im- 

portant commissions from Philip IV. of Spain, and marks of esteem il 
from Queen Christina of Sweden and other great personages. Pre- al 
eminent among the Flemish genre painters. His works are in all a 
the famous European galleries. ‘‘ Temptation of St. Anthony” 

and twenty-nine others in the Louvre; ‘‘ The Music Party” and 

fourteen others in the National Gallery, London. 


Castle of Perck 


With portrait of the artist in Spanish dress, looking at fisherrnan in a 
pool. 
25 


ea Me 


/ 


/ 
4 j 
é 


JAN VAN GOYEN Holland 


Born at Leyden, Holland, January 13, 1596; died at The Hague 
in 1656. Pupil of Esaias van de Velde about 1616, after having 
studied under various artists of slight reputation and made a tour 
through France. President of the Guild at The Hague in 1640. 
Works in the principal Dutch museums, the Louvre, and the other 
chief European galleries. 


Dordrecht Fishermen 


From the collection of Louis R. Ehrich, Esq. Signed on the boat, 
at the left end, ‘‘ J. Van Goyen, 1644.” This is a fine example of 
Van Goyen, and an important picture in every way. In the fore- 
ground on the left is a large rowboat drawn up on shore with fisher- 
men. ‘To the right is a castle with the water coming up to the walls. 
In the middle of the composition a pier and tower and sail boats. The 
sky of blue, with white and gray clouds, is extremely fine in tone, and 
the men in the boat in the foreground appear in dark silhouette against 
the water of the bay. Strong in color quality and harmonious in 


general treatment. 
Height, 15 inches; length, 18 inches, 


Pa as i 
590 /° a te lirrr 
ROBERT SMIRKE England 


Born at Wigton, near Carlisle, England, in 1752; died in London, 
January 5, 1845. Entered the Royal Academy Schools in 1772, 
after serving an apprenticeship with a heraldry painter. Elected a 
Royal Academician in 1793. Hewas one of the earliest of the 
English painters of figure subjects and gexre, and did a great deal 
of book illustration, 


Henry the Eighth and Anne Boleyn 


The King, dressed in a brocaded coat of red and gold, a purple vel- 
vet cloak, and with a hat with white plumes, stands holding the queen 
by the hand. She is dressed in a gown of blue, with a yellow silk front 
and jewelled girdle. On a table is a glass with white roses, a red cur- 
tain forms the background, and through the pillars of a terrace to the 


26 


left appears a landscape view with the tower of an abbey. The figures 
are painted with skill and grace, and the color scheme, including bril- 
liant notes, is handled with reserve and distinction. Purchased in 


London. 
Height, 30 inches; width, 25 inches. 


| J aiihi ff i. 
LL d- ov 60 ay i a) Kl re 


GEORGES MICHEL France 


The Huntsmen 


A road along the side of a cliff winds down hill on the right, and on 
a high bank are a fence and a group of trees. To the left is a wide 
stretch of country. The sky is filled with clouds of black and gray. 
On the road a party of huntsmen in red coats have stopped to rest, or 
to wait for the rest of their party. One man ona white horse leans 
over to ask a question of a woman and a little girl who are passing. 
Two men on the ground at the roadside, two horses, one white and one 
bay, and three dogs complete the group. In this fine sober landscape 
by Michel the color notes of the figures and horses appear with charm- 


ing effect. 
Height, 2314 inches; length, 28% inches, 
y Ding i 
AGE a 61 Wi Fish “is “Oo VIG ; 
SIR PETER LELY England i 


Born at Soest, Westphalia, in 1617; diedin London, November 30, 
1680. Real name Peter van der Faes. Pupil of Pieter de Greber 
in Haarlem, but going to England in 1643 with William of Orange 

» . » studied the manner of Van Dyke so closely that his earlier por- 
traits approach the style of that master. He was for thirty years 
the most popular portrait painter in England and was made court 
painter and knighted by Charles IT. 


Portrait of Princess Mary of Holland 


The princess is dressed in a gown of pearl color with lace bertha and 
pearl necklace. Her hair is dressed smoothly on top and falls in ring- 
lets over her ears. On one side of her head at the temple are three 


27 


little curls. The corsage is trimmed with white lace. The face is in 
three-quarters view, with the dark eyes turned directly toward the 
spectator. The expression is one of charm and grace, and the portrait 
in general is a fine specimen of this distinguished painter. 


Height, 2434 inches; width, 1834 inches. 


hee ie 0. 


ADRIAEN VAN DE VELDE Holland 


Born in Amsterdam in 1635 or 1636 ; died there January 21, 1672. 
Pupil of Willem van de Velde the elder, and afterwards, at Haar- 
lem, of Jan Wynants. After leaving Wynants he studied the 
figure under Philip Wouwerman, and further developed under the 
influence of Paul Potter. His ‘‘ Frozen Canal” is in the Louvre, 
and other works are in the principal European museums. 


Milking Time 


A group of cows and sheep, with landscape. In the centre of the 
group is a red and white cow, with a black one at the left, which a 
woman is milking. A boy hangs over the fence, laughing and pointing 
to acalf or young heifer sleeping in the foreground. Trees, a distant — 
prospect of country, and a fine sky of delicate blue, with gray clouds 
tinged with pink, are the other elements in this pleasing composition. 

_ Painted in the manner characteristic of this celebrated painter of the 
Dutch school. From the collection of Louis R. Ehrich, Esq. 


Height, 14% inches; length, 20 inches. 


JJ “a | 
ra lage e i 63 Ht 2 ad f od linn 
| JOHN OPIE England 


Born at St. Agnes, Cornwall, May, 1761 ; died in London, April 9, 
1807. He was the son of a carpenter, and began to paint when 
ten years old, painting portraits for pay at sixteen. Went to Lon- 
_don about 1780, and became a royal academician in 1788. His 
portrait of himself at the age of twenty-four is in the National 
Portrait Gallery, London, and his ‘‘ Gil Blas Binding the Cook in’ 


28 


the Robbers’ Cave” is in the Pennsylvania Museum of Fine Arts 
Philadelphia. 


Portrait of Master Linley 


An attractive picture of a boy with dark hair, which falls in locks 
over his forehead and about his ears. He is dressed in a dark blue 
velvet coat, with buff waistcoat and large brass buttons. A white 

ruffled collar and a black cravat loosely tied in a knot complete the cos- 
tume. In his hands he holds a large open book, and another still 
larger open book, like a lexicon, appears dimly on a stand in the back- 
ground. Freely painted with great charm of manner and expression. 
Purchased from Mr. J. D. Ichenhauser, London. 


Height, 2844 inches ; width, 23 inches. 


; aie 7 


[HOF IO lag ef LI ylenne 


RICHARD PARKES BONINGTON England 


On the Sea-Shore 


A woman, whose shoulders are covered with a red shawl, sits with her 
back to the spectator before a long table on the beach covered with fish, 
which she offers for sale. Nearby isa manon a white horse, the bridle 
held by a fisherman with a red cap, and there are some small figures in 
the distance. The sky at the lower right portion of the picture is dark 
and threatening, and the sea lies beneath it with fine pearly tone. The 
general aspect of the picture is suave and distinguished, and the work 
is marked by much truth of observation, while the scene is interpreted 
with artistic knowledge and general utility of effect. 


Height, 1o inches; length, 14% inches. 


, ie Wg {if Hy : 
ha Bal fad 5 ot oe “6 Cin 
RICHARD WILSON, R. A. England 


* Born at Pinegas, Montgomeryshire, August 1, 1713; died at Llan- Ht 
berris, Carnarvonshire, May, 1782. Pupil of Thomas Wright, a 
London portrait painter. Began to paint landscapes in Italy about 
1749, taking this step by the advice of Zuccarelli. His work was 
not appreciated in England during his lifetime, and he died in in- 


29 


digence, but he is now regarded as one of the chief landscape 
painters of the English school. He was one of the founder mem- 
bers of the Royal Academy. 


View of the Thames near Sion House, Twickenham 


A river, with a winding road, a sailboat coming down the stream, and 
a tree in the foreground with two men near the trunk, one of whom is 
preparing to bathe, are the principal elements in this composition. In 
the stern of the boat there is smoke from a fire on which probably the 
crew are cooking their supper. The sky shows summer atmosphere 
with clouds lit up on the edges, and the pastoral feeling is well inter- 
preted. An individual and very interesting example of Wilson’s ex- 


cellent work. Dated 1769. 
Height, 1834 inches; length, 28 inches, 


Ve 
/ we RE oe 
MARIANO FORTUNY Spain 


Born at Retis, Spain, June 11, 1838; died at Rome, November 
21, 1874. Pupil of Palan, Claudio Lorenzalez, and the Barcelona 
Academy, where he won the Prize of Rome in 1856. He married 
the daughter of Federigo de Madrazo, director of the Madrid Mu- 
seum, and so was the brother-in-law of Raymond de Madrazo. 
Associated throughout his career with him, Zamacois, and other 
celebrated painters of the Spanish-Roman and French schools. 
William H. Stewart, the American collector, owned many of his 
principal works, which were sold by the American Art Association, 
in February, 1898. ‘‘ The Choice of the Model” brought $42,000. 


Roman Model 


A vigorous study of the head and torso of an old man with gray 
beard and long hair. Painted in Fortuny’s characteristically swift and 
skilful manner. 


Signed at the left. Height, 22 inches; width, 1534 inches. 


if ij 
Be ye oF OF) A Jee 
LEON GERMAIN PELOUSE France 


Born at Pierrelaye, Seine-et-Oise, France; died in Parisa few years 
ago. Well known as one of the leading landscape painters of the 


30 


French school. He received various medals at the Salon and high 
honors at the Paris Exposition of 1889. Chevalier of the Legion 
of Honor, 

Landscape 


The picture shows a foreground descending to a stream in a valley 
with a high bank on the opposite side. A village is seen nestled among 
the trees in the valley, and on the hill opposite there are houses. Tall 
trees growing on the border of the stream reach up nearly to the top of 
the canvas, and the sky is full of light. All the foreground is in trans- 
parent shadow, and on thedistant hills to the left is seen a gleam of late 
afternoon sunshine. A very characteristic example of the work of a 
painter whose fine qualities are distinctly personal. 

Signed at the left. Height, 2534 inches; length, 36% inches. 


¥ 
fra? v2 68 ie ea: Wee \ 
JOHN SINGLETON COPLEY United States : 


Born in Boston, Mass., July 3, 1737; died in London, September 
9g, 1815. Pupil of his step-father, the engraver and painter, Peter 
Pelham. He began to paint portraits about 1751, and soon be- 
came the most celebrated master of the art in America. He went 
to Rome in 1774, and settled in London in 1775. Elected a royal 
academician in 1779. He was patronized by the royal family and | 
many of his works are in England. In this country his portraits ‘ 
are the most famous of any of those painted by the earlier American f 
artists. His best works were collected by his son, Lord Chancellor 
Lyndhurst, and many of them have been engraved. Ki 


Portrait of the Duke of Wellington : 


The face is almost in profile, and the body is covered by an ample 
black cloak, leaving only a little of the scarlet uniform showing about 
the neck. On the head a cocked hat with long points inclining down- 
ward and a great gold eight-pointed star and decoration on the front. 
The whole picture is skilfully and broadly painted, and the face is 
notable for the fresh life-like tints of the coloring. It was painted from 
life. An important example of Copley’s work. Considered as one of 
the best portraits in this collection by M. Benjamin Constant, when he 
saw it in Washington. Copley shares with Charles Leslie and Benjamin 
West the honor of being one of the three first American painters to be 
elected members of the Royal Academy. 

Height, 36 inches ; width, 28 inches. 


31 


. bi he oe 
ee Cet me oP file Boral 


JOSEF DE RIBERA Spain 


Called Lo Spagnoletto 


Born at Jativa, Spain, January 12, 1588; died in Naples in 1656. 
Pupil in Valencia of Francisco Ribalta. He went to Rome when 
quite young, and studied there. He was. nicknamed by his fel- 
lows, Lo Spagnoletto (the little Spaniard), and was without re- 
sources. After studying with Caravaggio, he went to Parma, and 
finally settling in Naples, he married there the daughter of a rich 
picture dealer. He was made court painter by the Spanish vice- 
roy, and soon had wealth and honors, and inhabited a palace where 
he entertained sumptuously. Ribera was of a very jealous dispo- 
ey sition, and made war on the artists of rival Italian schools who 
were employed in Naples. He was made a member of the Acad-- 
emy of St. Luke in 1630, and was knighted by Pope Innocent X. 
in 1644. His ‘‘ Entombment of Christ’ and two other works are 
in the Louvre, and other important works are in the principal Eu- 
ropean museums. 


Martyrdom of St. Bartholomew 


This picture was brought to England from Spain after the Peninsu- 
lar War by the Duke of Wellington. The saint, an old man, nude, ex- 
cept for a white cloth about his loins, is a little to the right of the cen- 
tre of the canvas ; and the executioner, with an instrument of torture in — 
his uplifted hand, is cutting his breast and side with the sharp iron 
prongs. The martyr’s arms are drawn up above his head with ropes. 
To the left of the executioner are the figure of an officer in armor with 
a red cloak, other soldiers and a nun. A boy on the right of the com- 
position looks on. The head, arms, and torso of the martyr are splen- 
didly painted with great realistic force, the figure of the soldier in 
armor is admirably treated, and the head of the boy is a beautiful #or- 
ceau, fine in execution and charming in expression, forming a contrast 
to the grim faces of the others. The saint’s head, with the face lifted 
to Heaven, is characterized by strong drawing, and the whole work 
shows power and force. The saint’s nude body is a very luminous piece 
of flesh painting, and the composition abounds in fine passages. A very 
important work of the highest class by the great Spanish master. 


Height, 65 inches ; length, 76 inches, — 
32 


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DOMENICO MARTINELLI Italy 
1650-1718 
Entrance to an Old Monastery. 


No. 2413, from the J. J. Peoli collection. 
Height, 9% inches ; width, rs5 inches. 


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WILLIAM BLISS BAKER “ . United States 


Contemporary 
The Sentinel 


This spirited sketch, as well as the companion picture of the young 
painter, was bought at the sale of the artist, after his death, by Mr. 
Mendonga, who in his notes says that the death of Bliss Baker was 
‘the heaviest loss that American art has suffered, as he considered this 
painter the most promising of all the American contemporary school. 
In a lecture before the Washington Club a few years ago, Mr. Men- 
donga paid a glowing tribute to the genius of this artist. | 


Height, 20 inches ; width, r2 inches. 


iy : | 
pul S 6 % . 72 PG ey ae Ly de AV 4 
WILLIAM BLISS BAKER si States 


Contemporary 


Pool and Upland 
Height, 20 inches; width, 12 inches, 
eg Bia 


RA ory Lratéd tr rare 
Pt ys nited States 


Contemporary by 


tae 73 
F, H. DE HAVEN 


November Day 
Height, 1o inches; width, 14 inches. 


2 33 


SECOND NIGHT’S SALE 


. TUESDAY, APRIL 25TH 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8 O'CLOCK 


uy ae ‘ “at 74 Ltt ame 
JAN VAN KESSEL — Holland 


1654-1708 


Strawberries 


Height, zo inches ; width, 13 inches, 


* 


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JEAN GERICAULT France 


1791-1824. 


Stable 


Height, 9% inches; width, 12% inches. 
34 


Serna 
—_ es 
meet 


76 aa Ay Mid oe 
ag. 4 fuUdrtltr 
J. C. BOURGUIGNON Italy 


1621-1676 


Battle Scene 


(On Copper) 


Height, 7 inches; width, 8 inches. 


eee 77 fii EO aes 
re eee bf 
DAVID KINDLEBERGER United States 
Contemporary 
Rock Creek 


(Water Color) 


Height, 12 inches ; width, 19 inches. 


2 22 78 oe ee 
ia 2a G 
DAVID KINDLEBERGER United States 
Contemporary 


‘Rock Creek 


(Water Color) 


Height, 1344 inches ; width, 20 inches. 
35 


3¢ 
7 PIERRE GAVARNIS France 


Contemporary 


Drawing 


This original drawing was given by the artist to Henri de Péne. 


Height, 12 inches ; width, 8% inches. 


AL fn ie: Le. Oe Se 


ANTOINE WATTEAU (Attributed to) France 


1684-1721 


The Flute Lesson 


Height, 14 inches ; width, 18 inches. 


2 52 os) ee (0 ber 
FRANCOIS comes Cat ae Ee 
1813-1880 


Passing Away 


No. 2267 in the J. J. Peoli collection. ‘ 


Height, 7 inches ; width, ro inches. 


woos vy 82 td GPs: 


A. MURATON France 
The Vigil 


No. 2548 in the J. J. Peoli collection. 
36 


fA 83 9 6 Mag 
a FELIX BERNARDELLI _ i Mexico 


Contemporary 


This Brazilian artist, brother of the sculptor Rodolpho Bernardelli, 
Director of the Institute of Fine Arts of Brazil, and of Henrique 
Bernardelli, one of the most distinguished painters of South 
America, during his stay in Mexico has been very successful in 

' portraying the costumes of the country. In the present composi- é 
tion, the grouping of the figures and their treatment possess a 
sobriety and a poetical feeling much to be praised. 


Water Carriers ; Chapala, Mexico 


Purchased from the artist. 
/ Height, 143% inches; width, 23% inches. 


bol Hh ue) +. 
F oft. £7 84. Ct. “tals 
F. CIPOLLA : Italy 


Contemporary 


The Orange Seller . 


Height, 11 inches ; width, 7 inches. 


oD Ip j SA 
2. | 85 Cea AY A theinn} 
PAUL SEIGNAC France | 
Interior 
Height, 18 inches ; width, 14 inches. 
86 
g @ as Zp ain L La hen 
él /- FRANCOIS SWAGERS France 
1756-1836 


Holland Landscape 
Height, 13 inches; width, 16 inches, 
37 


37 87 /. Gye. 


<<." yNKNOWN 


Landing of Pizarro at Peru 


Height, 9 inches ; width, 12 inches. 


way? 
NY ae 


MADAME LE BRUN (Attributed to) France 


Portrait of Monsieur Le Brun 


Height, 15 inches; width, 13 inches. 


| vt 
VO AMATVT tr1 at 
MADAME LE BRUN (Attributed to) France 


“vy 
JG ° 


Rs 


Portrait of Madame Vigé Le Brun 


Height, 18 inches ; width, 14 inches. 


90 pM 
Od °° om DIETRICH 731 


Nude 


Height, 21 inches; width, 25 inches, 


Or ah ee 
‘, Bie ( f i 
pe 50 a | : 
y SCHOOL OF REMBRANDT © Sel ; 


Y 
Christ in the Temple 
On oak panel, Purchased at The Hague. 


Height, 20 inches ; width, 26 inches. 
38 


{ : p -_— : 
od: EBS: < 92 Haat, Gr or LOr 
oR FRANCESCO ALBANI Italy 
: 1758-1760 
The Three Graces 


Height, 14% inches; width, 11 inches. 


| sa 
72. e 


. Adoration, St. Anthony 


English Landscape 


Height, 29 inches; width, 24% inches. 


i 0. eu : , 
UNKNOWN i Le ly ted a 
y. 


rhe) Mischic& Maker”. 


Height, 12 inches; width, roinches, 


- Oe atl 
gue ” A. es ig 
GEORGE MORLAND England 
1763-1805 


Grey Horse 
Height, 9% inches ; width, 12% inches. 
39 


7 
Vo Pe 7 
ITALIAN SCHOOL Ot Cit gi § 


= Height, 12% inches; width, 934 inches. | 

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od. 94 Hoe . / 
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ENGLISH SCHOOL Crt Cfinar grr | 


een 2 et 97 ay. A, rat yr 


J. M. W. TURNER R. A. pe 
1775-1851 
Ruins of New Brunswick Theatre 


An original sepia drawing by Turner, representing the catastrophe 
which occurred to the Theatre on Waterloo Road, afterwards known 
as the Victoria Theatre. 

Signed with the initials J. M. W. T. 


Height, 3 inches ; width, 4 inches. 


f2 
sc Ae i 
s 98 oy Hy sf; ° oe 
ROWLANDSON 4 flitdé Ore 
Landscape 
(Water Color) 


Height, 4 inches; width, 9 inches. 


etd 99 ee, J2als 


MAX WEYL United States 


Contemporary 


_Landscape near Paui Smith's, in the Adirondacks 


Height, 18 inches; width, 24 inches. 


JEAN BAPTISTE OUDRY France 
ein 1686-1755 


His works are in the principal galleries of Europe, and he excelled 
in the painting of birds, royal hunts, etc. Painter to Louis XV. 


Still Life 
Height, 26 inches ; width, 34 inches. 
40 


| right IOI Lead Vay ty de 
WIiLLEM KALF | Holland 
1630-1693 


Kitchen Interior 


Small replica of the original picture in the Louvre. 
Height, 13 inches; width, 16 inches. 


PA eae (ee, 
Dy. OF : 102 iO Oe a 
GEORG PHILIPP RUGENDAS Germany 
1666-1742 


Battle Scene 


Height, ro inches ; width, 16 inches. 


‘ J i 
Va) A * Ui Ne 
i CHARDIN France 


se 7 


a 1699-1779 


This master has pictures in the principal museums of the Eu- 
ropean continent. 


Still Life 


Purchased from M. Oudinot of Paris. i 
Height, 24 inches ; width, 19 inches. Hl 


oa I04 
GIRODET TRIOSON Renee. 
1767-1824 ; i 


One of the painters in vogue during the First Empire. 


The Bather 


Height, 21 inches; width, 18 inches, 
41 


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Pe il8 ) I05 C- AR 
GEORGES MICHEL France 
1763-1843 . 


Landscape 
Height, 12 inches ; width, 11% inches. 


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FELIX SATURNIN Cee Fratce 


Contemporary 


Sheep 


Height, 11 inches; width, 17 inches. 


<) £°O 
ddl ne ees. Lae 


A. G. DECAMPS : tens 
1803-1860 


Vue d’Orient, Effet de Soleil Couchant 


Purchased in Paris. 
Height, 45 inches; width, 2334 inches. 


US aN can a C7 ie 
LOUIS LATOUCHE ie France 


Contemporary 


Landscape 
Height, 24 inches; width, 23 inches. 
42 


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LEON RICHET France 
Landscape near Barbizon 


From Mr. George I. Seney’s collection. 
Height, rs inches ; width, 22 inches. 


‘KARL DAUBIGNY Renee 


Landscape 


Height, 16 inches ; width, 22 inches, 


Ilt es 


BOLTON JONES United States 


Contemporary | 

i 

Landscape on Long Island i 
Height, 17% inches ; width, 3134 inches. i 


‘ele ] 


| . : i A i 
me.” m (ftauilarrter | 
JULES VEYRASSAT France 


1825 


The Ford 
Height, 10 inches; width, 14 inches. 


43 


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THOMAS GAINSBOROUGH England 


A Market Cart 


Height, 11 inches ; width, 9 inches. 


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RICHARD PARKES BONINGTON England 


1801-1828 


E pay 
~ IS 


The Tuileries in 1822 


’ Height, 16 inches; width, 18 inches. 


vag So. 7V at Ky. (Dahle 


FREDERICK A. BRIDGMAN United States 


Contemporary || 


Coast of Algiers—Fountain by the Sea 


Bridgman’s well-known Eastern subjects are agreeably varied in this ® | 
picture, which follows rather the inspiration of Fromentin than that. of ¥ 
Géréme. 

Height, 16 inches; width, 24 inches. 
44 


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EDUARD HUBNER Dresden 


, 1842 


Capri ee 


This work of the well-known artist has all the atmospheric charm of 
Italy and shows that the splendor of nature at its best loses nothing in 
the eyes of a Northern observer. i 

Height, 20 inches ; width, 16 inches. i 


a As 117 Tei? ¢{ ara atid 


REMBRANDT PEALE United States 
1778-1860 


Cleopatra 


Copy of Guido’s painting in the Palazzo Pitti at Florence. 


Height, 34 inches; width, 27 inches. 


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HARRY PENNELL England 


Contemporary English School 


St. Margaret’s Church, Rochester 


An effect of sunset after rain. A road leading into the picture is 
overflowed with water which reflects the yellow tints of the sky. Great 
trees on the left, and the church with its roofs and tower outlined against 
the sky make effective masses in the composition. The effect is ren- 
dered with much truth of observation, and the picture is pleasing in 
color. 

Signed at the right. Height, 24 inches; length, 36 inches. 


45 


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ae y, ae ak L 
c Jt tah arnt 
JULIUS CHSAR IBBETSON Rugina 


” 


Born at Masham, Yorkshire, England, December 29, 1759; died 
there, October 13, 1817. Self-taught. First exhibited at the 
Royal Academy in 1785. He accompanied Colonel Cathcart’s Em- 
bassy to China in 1788, having an appointment as draughtsman, 
and was a frequent contributor to the Academy exhibitions in 
London. 


Market Place at Masham, Yorkshire 


From the collection of William Howgate, Esq. The market-place, 
surrounded by houses, is full of people—farmers and peasant women— 
cows and horses. Some are seen bargaining, and there is an air of 
bustle and business in the scene. The sky is grayish yellow, with bits 
of blue between the clouds. 


Height, 14% inches; length, 18% inches. 


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120) | 
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WILLIAM JAMES MULLER England 


Children in the Wheat-Field 


Three little girls are seen in a group near a fence with a big barred 
gate. The one in the middle, who has a pretty face, wears a red skirt 
and holds up in her apron’ field-flowers and wheat. The child on the 
right has a blue skirt, and the third, one of violet color. Shocks of grain 
appear in the background, and the sky is blue, toned with gray. The 
little girls are nice types of country children, and the siete is full of 
rustic simplicity and charm. 

Height, 20 inches; width, 17% inches. 


46 


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es 121 ( ae sat Gaps 

: Sao coal a A ALY 

: GEORGE HENRY MORLAND England _ 


Grandfather of the well-known figure and animal painter, George 
Morland. Died in 1789. 


6 


The Ice Cream Vendor 


This attractive picture shows a young woman looking over her shoul- 
der, while in her left hand she holds a dish of ice cream, and with a 
dainty action of the right hand seems about to put a silver spoon in it. 
The bodice is bluish gray, trimmed with a ruffle, and a great lace bon- 


net crowns the head. 
Height, 27 inches ; width, 20 inches. 


4h FD: Cte li 
GEORGE HENRY MORLAND England 


The Flower Seller 


Companion picture to ‘‘ The Ice Cream Vendor.”’ The subject is 
painted in full face, with a lace headdress and a blue bodice. About 
the neck is an ample white kerchief. The young woman holds upa 


rose in her right hand. 
Height, 27 inches ; width, 20 inches. 


x?) dO: ai La Ci! OT AG Te 
| GEORGE MORLAND England 


A Gypsy Camp 


A roadside scene, with gypsies under great trees with twisted trunks 
and bfanches, who are preparing for supper. A woman is gathering 
fagots, and a man with a child in his lap is seated by the fire. Three 
stakes make an improvised crane, and there are pots and pans lying 
about. The color is rich and dark, and the general aspect of the pic- 
ture is attractive. Purchased from M. Ichenhauser, London. 


eer tr nett i elt etme — - 2 a aa =e See 


Height, 19% inches; width, 26%4 inches. 


47 


ae ait | eri * Py. DA a the 


CHESTER HARDING ‘England 


Born at Conway, Massachusetts, September 1, 1792; died in Bos- 
ton, April 1, 1866. Self-taught. He became a well-known portrait 
painter, and met with much success in London, whither he went in 
1832. After his return he practised his profession in Philadelphia, 
Boston, and St, Louis. He was originally a turner, then a soldier 
in the war of 1812, and a house-painter in Pittsburg. Painted the 
portraits of many celebrated public men in Englandand the United 
States. 


Portrait of Macready 


The famous actor is shown in a costume of the style of 1830, with a 
white stock and high collar. The portrait shows the head and bust, 
and the background is of neutral tint. The smooth-shaven face is 
painted with frank, clear color, and the expression is full of character. 


Height, 22 inches ; width, 19 inches, 


BAS ao 25) Ge 


JS. 


PETER 'PAUL*RUBENS Belgium 
Head of an Old Man 


From the collection of Professor Peoli, and considered at his sale in 
1894 one of the most notable pictures. The head is seen in profile, with 
the light concentrated on top. The face is strong in expression, and 
the shoulder is covered with some rich stuff. A rich, harmonious piece 
of color and a virile piece of painting. 

Height, 13 inches; width, 9 inches. 


0 126 / 2eaeol Cages 
NICOLAS LANCRET France 


Born in Paris, January 22, 1690; died there, September 14, 1743. 
Pupil of Dulin and of Giilot, but formed his style chiefly after 


48 


. » lection. 


.. Watteau. The pictures of the two artists are sometimes con- 
founded, as the subjects are similar, and Lancret’s treatment fol- 
lows that of Watteau. Ten of Lancret’s works are in the Louvre ; 
others in French provincial museums, and in various European 
galleries. 


Social Gathering in the Park 


The scene is in a garden with a terrace wall and a high vase on the 
left. A group of five figures, consisting of three young women and two 
men. In the middle of the group a girl with a flute is learning to play, 
while a man who is teaching her sits beside her. Another woman is 
reclining on the grass, and back of her is a man who stands up while 
he converses with the third woman,who is seated on the grass, with her 
back turned to the spectator. The costumes are light in color—white, 
pink, and blue—and these tints form an effective contrast to the green 
of the landscape background. No. 1133 in the Metayer de Guy col- 


Height, 59 inches ; width, 44 inches. 


a - 127 mL AA eee 
. 
JEAN BAPTISTE GREUZE/ ne 


Born at Tournus, Sadne-et-Loire, France, August 21, 1725; died 
in Paris, March 21, 1805. Pupil, in Lyons, of Grandon, and in 
Paris, of the Academy. His pictures early became popular, and he 
accumulated a large fortune, but lost it all in the Revolution. The 
vogue of David and his school, and the taste for the classic as in- 
terpreted by these painters, prevented any further success for 
Greuze, and he died in poverty. His celebrated picture, ‘‘ La 
Cruche Cassée,” and fourteen other pictures and portraits are in the 
Louvre. Other important European museums contain examples 


of his work. 
The Dead Bird 


A very fine Greuze. A little girl dressed in white, with a blue rib- 
bon in her blonde hair, is looking at a dead canary which lies on a 
table near its empty cage. The left hand is uplifted in a pretty gesture 
of sorrow, and with the right the child is about to take up the dead 
pet. The hair hangs ina long plait on one side of her neck, with a 
lock on the other side, and the expression of the face is sweet and gen- 
tle. The picture is charming in color and sentiment, and is altogether 
characteristic of the artist’s best style. Purchased from M. Oudinot, 
Paris. 

Height, 2634 inches; width, 22 inches. 


4 49 


peace 
————S—— 


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i a ae 128 > ro 
: GEORGES MICHEL ater mrs 


Landscape near St. Denis 


A wide stretch of country with the middle portion lighted up by the 
sunshine. The large valley is heavily wooded, and the color scheme 
is made up of fine sober tints, with delicious light yellows, grays, and 
browns in the middle distance, where the sun bathes the landscape. 
The sky shows clouds of gray, and the picture is a most attractive har- 
mony of subtle colors. A very distinguished and beautiful Michel. 


Purchased from Tripp, Paris. 
Height, 23% inches; length, 29 inches. 


AU a edie 1290 7/7 ha Cee 
; JEAN BAPTISTE CAMILLE COROT France 


Born in Paris, July 20, 1796 ; died there, February 23,1875. Pupil 
of Michallon and of Victor Bertin. He went to Italy in 1826, 
and afterward painted in France, in Normandy, at Ville d’Avray 
near Paris, in Provence, and in the Forest of Fontainebleau. 
He is considered the greatest of all modern landscape painters. 
Officer of the Legion of Honor ; various medals at the Salon, and 
other honors, His career was a very successful one, and he was 
very popular with his fellow artists, who called him Pére Corot. 
His picture ‘‘ La Danse des Amours,” in the sale of the collec- 
tion of Charles A. Dana, sold by the American Art Association 
(1898), brought $36,000. 


Un Berger Jouant avec sa Chevre 


This picture shows a glade with a hill on the left, and through an 
opening between the tall trees, the sea appears in the distance. Sun- 
light glints through the foliage, and beside the trunk of a tree in the 
foreground a shepherd is seen caressing a white goat. A kid by its 
mother’s side is sucking her milk. The composition has a classical 
air, and is very characteristic in every way of Corot’s pastoral style. 
This picture was exhibited at the Salon of 1847, and is mentioned in 
Gustave Planche’s critical review of the exhibition that year. Pur- 
chased from M. Charles Sedelmeyer, Paris. 


Signed at the left. Height, 34% inches ; width, 25% inches. 
50 


N od a gee: 
: wed | Oe eg 
1 GEORGES MICHEL , France 


The Stag Hunt 


The landscape is covered by a cloudy sky, and in a clearing in the 
middle, lit up by the sunlight, a buck dashes toward a windmill and a 
house on the right of the picture. Five hounds are in close pursuit 
and two more are in full cry farther off. A huntsman on a white horse 
is galloping forward. The effect is a characteristic symphony of grays 
and tawny tints such as mark the work of Michel. The figures are 
supposed to have been painted by an unknown artist. 


Height, 29 inches; length, 3034 inches, 


Ve Prt OM 

e, ~ sv My ve © seh 7 { a JF 

4 vA 3. esi > ini rene 
ALPHONSE MARIE DE NEUVILLE France 


Born at St. Omer, Pas-de-Calais, France, May 31, 1836; died in | 
Paris, May 20, 1885. Pupil of Picot. He spent three years in the 
Paris Law School with the intention of becoming a barrister, but | 
gave it up and went into painting. He achieved success early, and . iV 
his pictures of battles and incidents in the Franco-Prussian war of 

1870 brought him great fame. With Detaille, De Neuville shares | 
the honor of being the greatest military painter of the century. 


Soldier of the Republican Guard 


A French soldier, one of the mounted arm of the Garde Repudlicaine, 
on a bay horse, occupies the foreground. He holds a carbine in his Na 
right hand and the bridle rein in the left. His head is turned to the | 
right, as if he were watching something, and his expression in face and 
figure is alert and calm. The uniform shows that the soldier is fully 
attired for campaign service. In the distance is another soldier, on a 
white horse. The landscape is tender in color, the greens and yellow 
browns of the plain in the foreground harmonizing with the pale gray 
of the sky. 


Signed at the left. Height, 12% inches; width, 10% inches. 
51 


eed! a 2° Ma, ; 

AIME NICOLAS MOROT France q 

Born at Nancy, France, June 16,1850. Pupil of Cabanel. Grand 

Prize of Rome, 1873; medals at the Salon, including the Medal of 

Honor in 1880. Grand Prize at the Paris Exposition, 1889 ; Chev- 

alier of the Legion of Honor. ‘‘ Charge of the Cuirassiers at 
Reichshoffen” in the Luxembourg Gallery, Paris. 


Arabs Attacking an English Outpost 


An Arab warrior, mounted on a black horse, galloping at full speed, 
is in the act of changing rifles. Dressed in a white burnous, with a red 
mantle flying out behind, he looks over his shoulder, and is followed 
and preceded by other Arab horsemen who are riding in a great circle 
and firing on the outpost as they pass, reloading before they each pass 
the outpost again. The Arab next behind the principal figure is 
wounded, and is falling from his horse. Figures and landscape in this 
picture are all painted with great force, and the color scheme is a bril- 
liant one.’ Everything represents motion, from the field and figures . 
to the clouds in the sky. Aimé Morot is considered one of the strongest 
painters in the contemporary French school. Purchased from the 
artist. 

Signed at the right. Height, 2834 inches ; length, 36 inches. 


mS 
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i 4 ab re: 

a 3 Lari 

: FREDERICUS H. MANS Dutch ool 
Died after 1687. Nothing is known about his life, but he is 
thought to have worked in Utrecht. His pictures are often found 
in private collections in Holland. Works in the Rotterdam, Dres- 
den, Leipsic, and Vienna museums. 


View of a Town and Canal in Holland 


On the right of a canal is an inn before which are horsemen. Other 
buildings are on the banks of the canal, and three boats are at the land- 
ing with a fisherman in one of them. ‘Trees behind the buildings are 
seen against the sky, and the scene possesses much local character. 
The treatment of the picture shows truthful observation, and there is 
fine atmospheric effect. Purchased at The Hague. 

Signed on the right. Height, 22 inches; width, 18% inches, 


52 


bepsiine : 134 yo OD rath 
. (A: 


Whe a og 


E. H. VAN DER NEER Holland 


Born in Amsterdam in 1643; died in Dusseldorf, May 3, 1703. 
Son of Aart van der Neer (1603-1677), and at first his pupil; 
afterward pupil of Jakob van Loo. He went to France in 1633, 
and in 1687 to the court of the Elector of the Palatinate, to whom, 
as well as to Charles II. of Spain, he was court painter, 


Pastoral 


An important composition, showing a young woman, in a white dress, 
seated on a rock, or bench, with a shepherd in brown and gray playing 
to her on his pipe. The landscape presents a vista of mountains and 
valleys, and there are some sheep near by and a dog asleep at the feet of 
. the shepherd. The color scheme is rich and attractive in its harmony, 


Height, 14 inches; length, 1814 inches, 


¥ ASG , 
ne bein 135 Ch Me eehed: 


CHARLES BRIAS Belgium 


Belgian genre painter, who died at Malines in 1839. 


Preparing Dinner 


The scene, in a courtyard with a high wall on the right and a porch 
with a door leading into the house on the left, shows a young housewife 
standing at atable scraping carrots. Other vegetables are on the table. 
An elderly woman is seated on the right, with a spinning-wheel near 
by, and a boy stands near the table watching the work. There isa 
black dog at the side of the younger woman, and a cat sits on a bench. 
The courtyard is paved with tiles, and high up on the wall is a statue 
of the Madonna and Child. <A bit of sky shows over the porch roof 
on the left. This picture is carefully painted, and is so good that it 
was once attributed to Gerard Dow. 

Height, 24% inches; width, 2014 inches. 
§3 


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M. J. VAN MIEREVELT Holland 


Born at Delft, Holland, May 1, 1567; died there, July 27, 1641. 
Pupil of Willem Willemsz and of Augustyn, and, at Utrecht, of 
Blockland. He entered the Guild at The Hague in 1625. 
Charles I. invited him to England to paint his portrait. Works in 
the principal Dutch and other European museums. 


Portrait of a Dutch Lady 


A bust portrait of a lady dressed in black with white ruff and a head- 
dress of white muslin. The gown of black stuff has a pattern of tracery 
which is carefully painted. The construction of the head and the ex- 
cellent drawing make this picture a fine work of art, and the expression 
of the lady, who may have been about thirty when the portrait was 
painted, is pleasant and attractive. 


Signed at the right with the number ‘“‘ 42 
Height, 24 inches; width, 19% inches. 


of of PUAAVLEE 


CORNELIS DE VOS Holland 


Born at Hulst in 1585 ; died at Antwerp, May 9, 1651. Known as 
De Vos the elder. Pupil of David Remelus ; Master of the Ant- 
werp Guild, and its dean in 1619-20. Among prominent artists of 
the Flemish school who were his pupils are Jean Cossiers and Simon 
de Vos. The latter’s work is often confounded with that of Cor- 
nelis de Vos. Friend of Van Dyke. Three works and several 
portraits in Antwerp Museum ; other pictures at Rotterdam, Mu- 
nich, Berlin, St. Petersburg, and Madrid. ‘‘ Portrait of a Young 
Girl” inthe Metropolitan Museum, New York. 


Portrait of an Admiral 


Three-quarters length figure, showing both hands, in costume of black 
and gray trimmed with gold braid; a white ruff and cuffs of lace; a 
gold chain around the neck, supporting a gold medal. The left hand 
rests on his sword-hilt, and the right holds a glove. Over the shoul- 
ders a black cloak is thrown, and in the right upper corner of the can- 


54 


_vas there is a coat-of-arms. Every detail in this picture is beautifully 
painted, and the exsemd/e is characterized by sincere and dignified exe- 
cution. Theexpression of the Admiral is singularly straightforward 
and engaging. From the collection of Colonel Mapleson, London, 


GV 
ees 
138 | 
J. DOMINGO Spain / 


Contemporary. 


Height, 4634 inches; width, 2334 inches. 


~ 


ad 


i he aaa 


Born in Spain ; pupil of Meissonier. A famous artist, the sub- 
jects of whose pictures are in the same line as those of his master, 
though he also paints interiors, with female figures and portraits, 


Portrait of Juanito, the Artist’s Brother 


This is a charming picture of a boy with dark hair and eyes, dressed 
in a dark crimson velvet coat. The head is in profile, showing the neck 
above the low, loose collar, and is painted in the brisk, skilful style of 
this painter’s portrait work. From the Gabalda collection. 


Signed at the right. Height, 2414 inches; width, 18 inches, 


— “4 Lp 
270.7 139 ih; ytd a help 
ve 
DIEGO DE RODRIGUEZ DE SYLVA Y 
VELASQUEZ 


Born in Seville ; baptized June 6, 1599; died in Madrid, August 7, 
1660. Pupil of Herrera el Viejo and of Francisco Pacheco, whose 
daughter he married in 1618. In 1622 he went to Madrid, hoping 
to be permitted to paint the king’s portrait, but was not successful. 
After some months’ study at the:Prado, he returned to Seville, and 
painted ‘there a portrait of the poet Gongora, which attracted atten- 
tion. The Duke of Olivares called him back to Madrid in 1623, and 
he then painted an equestrian portrait of the king, and was appointed 
court painter. In the same year he painted a portrait of Prince 
Charles of England. It was never finished, and has disappeared. 
In 1628 he went to Italy, and after a year in Rome and some time 
in Naples returned to Madrid, where he remained for eighteen 
years. During this time, 1631 to 1649, Velasquez painted many of 


55 


his finest works. In 1649 the king sent him to Italy to collect 
pictures for the royal galleries. In the following yedf the king 
appointed him Quartermaster-General of his household, a position 
which he held for eight years, and during this period he painted 
the famous works ‘‘ Las Meninas”’ and ‘‘ Las Hilanderas.” When 
he died, his body lay in state for two days, dressed in the uniform 
of a Knight of Santiago, and was buried in the church of St. Juan. 
The finest works of Velasquez are in the Prado Museum, Madrid. . 
Others are in the great museums of Europe, some of the best being 
in the National Gallery, London. 


Portrait of a Spanish Prince 


This portrait was known in the collection of the Duchess de Berry as 
the portrait of the Infanta Maria Teresa, but the title was erroneous, as 
is shown by the masculine gender of the participle zatws in the inscrip- 
tion painted on the canvas: ‘‘ Natus Anno MDCXXX dies Septembris 
III.”” Maria Theresa was born in 1638. It is probably a portrait of the 
Infante Don Baltazar Carlos. The little prince stands by a table, with 
his left hand resting upon it, near a high-crowned hat. He is dressed 
in a costume of old-rose color, with scarlet sleeves, and a white ruff of 
lace about the neck. The right hand holds one of the green and white 
lacing strings of his dress, and from his neck, on a string of large red 
and gold beads, hangs a medal of the Holy Sepulchre. The child’s 
face is attractive, and the flesh tints and the pale reddish color of the 
hair are delightfully rendered. The work is characteristic of the 
master, both in the effect of the masses when seen at a distance, and by 


the perfect finish of the details when seen near by. The color scheme , os 
is handsome, and the general aspect of the picture is stately and 
charming. 


Height, 3334 inches; width, 23 inches. 


375-7 wo ff 
| CLAUDIO COELLO Hen 


Born in Madrid about 1635; died there, April 20, 1693. Son of 
Faustino Coello, a Portuguese sculptor, and pupil of Francisco 
Rizi. After having executed important commissions in Toledo 
and Saragossa, he returned to Madrid and was appointed painter 
to the King in 1684. In 1691 he was made painter to the Cathe- 
dral of Toledo, but the rivalry of Luca Giordano, brought to Spain 


56 


JOS 


by the King to decorate the Escurial, embittered and disappointed 
him, and finally led to his death. Works in the Madrid, Brussels, 
Munich, and St. Petersburg galleries. . 


Portrait of Dona Katarina de Braganca, Queen of 
Charles II 


From the collection of the Duke of Ossuna. The figure is in three- 
quarters length, dressed in a gown of figured red material, with em- 
broidery of silver and gold. A lace bertha on which is a pearl bow- 
knot and pendant set in gold, full white undersleeves with lace ruffles 
and red bows complete the costume. Around the neck isa black ribbon 
supporting a rich jewel. The hair, which is light in color, is dressed 
with a fringe of small curls on the forehead, and is held by a band and 
ribbon bow-knot at one side. The right hand rests on a table; the 
left hand, lightly holding the skirt, is ornamented with two large rings. 
Face and figure are well and elaborately painted, and the picture has an 


air of great distinction. 
Height, 46 inches; width, 32 inches. 


y peer, ay Jp 
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d. 141 
CORREGGIO Italy 


Real name, Antonio Allegri. Born at Correggio about 1494 ; died 
there, March 5, 1534. Pupil of his father’s brother, Lorenzo Al- 
legri and of Antonio Bartolotti, painters of the town of Correggio, 
of no great repute. At Modena is said to have been a pupil of 
Ferrari, but all the accounts of Correggio’s early training lack con- 
firmation. No one has been able to trace the origin and develop- 
ment of his method of painting, which is unlike that of any of his 
contemporaries. In grace and elegance, in tenderness and sweet- 
ness of expression, and in skilful execution his works are unrivalled, 
One of the greatest masters of the Italian Renaissance. Important | 
works in the Louvre, in the Dresden Gallery, and at Parma. 


Head of a Boy 


A*curly-haired, chubby-faced boy looking over his nude shoulder. | 
This head may have served as a study for one of Correggio’s great com- 
positions. Time has given to the picture a beautiful golden tone, and 
the color is delicious. From the collection of Mr. Bevan, Trent Park, 
Hertfordshire, England. 


Height, 12 inches; width, 11% inches, 


57 


y ue ) 


Diag. hd 142 /° (X. Be 


BARTOLOME ESTEBAN MURILLO __ Spain 


Born in Seville, January 1, 1618 ; died there, April 3, 1682. Pupil 
of Juan del Castillo. He earned money enough to go to Madrid 
in 1643, where he introduced himself to Velasquez, who obtained 
for him permission to copy in the Royal Galleries. On his return 
to Seville, in 1645, he spent three years painting a series of eleven 
pictures for the Franciscan convent. The excellence of these 
works brought him many commissions, and he married in 1648. 
His productiveness was great, and he executed a vast number of 
pictures for public and private buildings in Seville. On the death 
of Philip IV., Murillo was made court painter by Charles II., suc- 
cessor Of Philip. He did not go to Madrid, but remained work- 
ing in Seville till his death, in 1682. He died from the results of a 
fall from a scaffolding upon which he was at work painting a pic- 
ture of the marriage of Saint Catherine for the church of Capuchin 
Friars at Cadiz. A large number of his pictures are at Mad- 
rid and in other Spanish museums. One of his best-known works 
s ‘The Immaculate Conception” in the Louvre. Other cele- 
brated works are in the principal European museums. 


Magdalene 


This picture was formerly in the collections of Baron de Beurnonville 
and M. Pereire, the Paris banker. It is described under the number 
667 of the Catalogue of the de Beurnonville sale in Paris in 1881. The 
figure is kneeling, with hands joined in prayer ; the hair hangs loosely 
over the right shoulder, falling upon the breast, and the eyes are raised 
to heaven. The dress consists of a white tunic and a violet-colored 
robe. In the upper part of the picture is a group of three cherubs 
singing, and playing on musical instruments. The background is 
dark in tone, and the beautiful figure of Magdalene is relieved upon it 
with graceful lines. In sentiment and in color quality the work is ad- 
mirable. Purchased from M. Charles Sedelmeyer, Paris. 

Height, 61 inches ; width, 36 inches. 


fa 4. “VY I43 yi) ie “4 . p A 
| UNKNOWN GAACHe Ve, te- 


Portrait of a Jesuit Father 


Height, 27 inches ; width, 24 inches. 


58 


ag iy (A: Gop a: 
: JOSEPH VERNET | France 


1712-1789 


Mediterranean Port 


Height, 12 inches; width, 20 inches. 


ee OO eae 
DAVID KINDLEBERGER United States 


Contemporary 


Near Nantucket 


Height, rz inches ; width, 17 inches, 


Np of f 

a y, ye ! 
I4 ! 

PARKER MANN United States i 
‘Contemporary 

Venice 


Height, 18 inches ; width, 30 inches. { 


59 


THIRD NIGH T'S Saar 


WEDNESDAY, APRIL 26TH 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8 O'CLOCK 


‘. 
— 
~ 
eee, | 
3 


ec! 
/ P44 F Vi 
147 Q 94 ttt ——— 


GIOVANNI PANINI | Rome 


1695-1768 


a 
o 


Roman Ruins 
(On Copper) 


Height, 9 inches ; width, 7 inches. 


() i J, 
ss. 7 MBM Debbie 
GIOVANNI PANINI ( Rome 


Roman Ruins 


(On Copper) 


Height, 9 inches; width, 7 inches. 
60 


; DUTCH SCHOOL Le tat 


H Tavern Scene 


Height, 12 inches ; width, 11 inches. 


Lah et, ‘i 150 (a. ee iy 


DUTCH SCHOOL 


Tavern Scene 


Height, 9 inches; width, 12 inches. 


iP Os sd , 
oot (a. a of 


DUTCH SCHOOL 


Tavern Scene: 
Height, 15 inches; width, 13 inches. é 


om "aa 152 é. Ce Fn a Dey ave 


MAX WEYL United States 


Contemporary 


On the Potomac 


Height, 6 inches ; width, 12 inches. ; 


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F. CIPOLLA Tialy f 


Contemporary 


Jealously in the Harem 
Height, 13 inches ; width, ro inches. 
61 


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ad ay na 


Af ¥ 


UNKNOWN sae 


English Landscape 


Height, 14 inches; width, 21 inches. 


Sy oN a9 Feb ey 
Day | saat y yes 
JOHN SELL COTMAN | England 


1782-1842 


On the Thames 


Height, 10% inches; width, 11% inches. 


ys SAMs 356 7 
ENGLISH scHOOWr: ve) Lis 


Portrait of a Woman 


Height, 14 inches ; width, 12 inches, 


ees hg ie 


J. F. HERRING i Engldnd 
Barn Yard 


Height, 16 inches; width, 24 inches. 


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UNKNOWN AL 


Sheep 


Height, 12 inches; width, 20 inches. 


62 


US. 7 


> I59 
I. PILS | 
Contemporary 
Satyr 


Study for Orpheus for the Grand Opera House, Paris. No. 2560 in 


the Peoli collection. 
Height, 20 inches ; width, 16 inches. 


os 


Dd ees 
160 4-9. ¢ Ae ie 
1°G. BE. ISABEY / France 


Landscape 


Height, ro inches; width, 18 inches, 


Agile CN ripe: 


161 d Fae Gee ae 
FLEMISH SCHOOL Lé pan catini 
Old Italian Landscape 


Height, 2714 inches; width, 37 inches. 


Ana 


ve 


Re 
e 


J 


7B 


Paulie f 
SUSTERMANS (Attributed to) 


Dutch Portrait 


Height, 25 inches; width, 19 inches. 


™ 163 4 alte fe 
i ies ye, Uh 
ISAAK VAN OSTADE a G, OE¢ Te cdgitad ‘i 
1621-1649 


Landscape, with Ruined Tower 


No. 38 in the Ehrich collection. 
Height, 14 inches; width, 17 inches. 
63 


ama 


SS J: oy 5 4 mee Uf 
PETER BOUT Belgium 
1658-1731 
ADRIAN BOUDEWYNS Belgium 
1644 


Landscape, with Inn. 


Height, 9 inches ; width, r2 inches. 


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vA x “ai 165 cy AOA? Liz 
D. MYTENS Gérmany 


Portrait of a Lady of Title 


Height, 14 inches ; width, ro inches. 


PETER VAN SLINGELLANDT Leyden 
1640-1691 
Courtship 


Purchased in Holland. 
Height, 8 inches ; width, 6 inches. 


Lain . 37 4 
EGBERT VAN HEMSKERK |. Haarlem 


1610-1680 


Tavern Scene 


Purchased in Rotterdam. 
Height, 13 inches ; width, ro inches. 


64 


6 of i ne 168 y fi) Bs 


UNKNOWN C4 


Landscape with Cattle ! 


Height, 23 inches; width, 29 inches. 


Ms 


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pa! 60 Mf FainAnrtehe 
BOLTON JONES | United States 
Contemporary 


On the Marshes 


Exhibited at the Academy of Design, New York. 


: Height, ro inches; width, 18 inches. 


on" / cy hew /) a 
of o 170 Wa va ae ahd 
CASTAGNETO | Brazil 


Contemporary 


Lime-kiln in the Island of Paquetaé in the Bay 
of Rio 


Height, 11 inches; width, 17 inches, 


ELIZABETH NOURSE | Paris 
Contemporary 


The Last Mouthful 


Exhibited at the Paris Salon of 1890 and at the World’s Columbian 
Exposition at:Chicago, 1893. 
Height, 60 inches; width, 44 inches. 


5 65 


pe oe oe 
iG Le? / / 
y, ke 172 ht Ws Lak 
EMILE VAN MARCKE France 
1827- 
Cows 
Height, r2 inches; width, 16 inches. 
ra IY? ‘ 
ae 8. Late 
fad 723. 4 
; LAL NS eG 
THEO. FRERE France 
Contemporary 


Oriental Market 


Height, 12 inches; width, 7 inches. 


174 
A. G DECAMPS France 
1803-1860 
Arabian Scouts 


Height, 11 inches; width, 9 inches. 


Ay pf 
g 
bo. 175 on b ie tte 
PROSPER MARILHAT Phe 
1811-1847 
Cairo 


Height, 19% inches ; width, 28% inches. 
66 


ee 


176 
JULIEN DUPRE France 


Contemporary 


The Milk Carrier 


Height, 18 inches; width, 15 inches. 


, 
Aisite f 
oa | ae if 177 Oi Len CAL 4 
: DELACROIX | France 
1798-1863 
Height, 16% inches; width, 23 inches. 
Tiger 
I 8 Net We ee f i ee 
4S 0 nr ; 7 He PU » és 1 i a tele 
OLIVER ISAACS England | 


Portrait of Inigo Jones 


This is one of the few extant oil paintings by the celebrated English 
miniaturist; bought in London, where it was offered as a portrait of 


Shakespeare. 
Height, 18 inches; width, 14 inches. 


wre fie if 
rae 179 ° eet Meek: iv 


wb 7? 
J. M. W. TURNER (Attributed to) England 


Queen Mab’s Grotto 


This picture, purchased in New York by Mr. Mendonga, had been 
scorched by fire, which, notwithstanding, had not materially injured the 


67 


work to the point of making it unrecognizable. Mr. Mendonga knew 
a similar picture by Turner at the National Gallery, and had his acqui- 
sition restored by the restorers to the National Gallery, London. 
It can be either the first picture of the same subject of the National 
Gallery picture, reproduced by the master after this picture was injured, 
or a copy by some contemporary artist ; for instance, Pyne, who copied 
a number of Turner’s pictures. The first hypothesis is sustained by 
the condition of the picture before its recent restoration, as the work 
had caked in a manner only possible to fresh paint. 


Height, 30 inches ; width, 35% inches. 


w 
‘ lo >. Va ® 
a aaa 180 \ 6p hdr 
WILLIAM ETTY ‘e ss England 
1787-1849 
Nude 


cs 


“s 3 


Height, 24 inches; width, 18% inches. 


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7 18r/ “i AAA Are 


BENJAMIN WEST, P. R. A. United States 


1738-1820 
Returns from the Promised Land 


One of the best examples of this artist, in his cold, conventional, but 
correct manner. Benjamin West was one of the three Americans who 
first received the honors of membership of the Royal Academy, of 
which West, although inferior to Copley and Leslie, was for a time 


President. 
Height, 21 inches; width, 28 inches. 


n 4 y 
182 | Me pe Qunrtt 
WILLIAM F. WITHERINGTON, R.A. England 
1785-1865 


English Landscape 


Height, r2 inches ; width, x16 inches. 


68 


— ee Se 


es ead. 183 ee arte (ride. ee 


J. D. BAGER England 


Small Portrait of a Lady on Copper 


Height, 5% inches; width, 4 inches. 


fa 
4 aaa cite CL: ee 
GIOVANNI PANINI Italy | 
1695-1768 


The Last Day of Pompeii 


Height, 1834 inches ; width, 33% inches. 


og eat | 185 Oe 2 i, 


. LY 2a 
ROMBOUT VAN TROYEN Amsterdam 
Offerings, 1648 
This picture was examined and declared an original by Mr. Pappel- 
endam, Sr., of Amsterdam, who considered the landscape as good as 


Rembrandt’s. 
Height, 16 inches ; width, 21% inches. 


/ / f pct 

vane V2? ; 186 A ie BONA: 

PHILIPS WOUWERMAN Holland 
1614-1668 


Travellers at the Smithy 


From the Baron of Osola’s collection. Purchased from Daniels of 
Paris. 


69 


eee nis oe. Cs) (i 
PHILIPS WOUWERMAN Holland 
1614-1668 


Travellers at the Inn 


From the Baron of Osola’s collection. Purchased from Daniels of 


Paris. 
Height, 17 inches ; width, 213% inches. 
is nN i Yh 
~~, i y 
af * tL 
32 188 \Crwrhacredly 
JAN VONK Holland 


still Life—Fish 


Exhibited at the World’s International Exposition at Chicago, and 
bought at the Dutch Artists’ Sale. 
Height, 27inches ; width, 21 inches. 


op 
A Bue 189 A Pee: 
PHILIP ROOS Holland 
1655-1705 
Twilight on a Farm 


This example of the master in his best manner is most harmonious 
in color, and portrays the close of the day with great poetical feeling. 


Purchased in Amsterdam. 
Height, 18 inches; width, 23 inches. 


,/ A. ne 190 oe. Geer. 


GILLES DE HONDEKOETER Germany 
1613-16— 


Poultry 


The pictures of this well-known master are in the museums and best 
collections in Europe. 
Height, 25 inches; width, 35 inches. 


70 


a 7a. ie mom (NS Nactiltkh 
SIR GODFREY KNELLER | Ehigland 


Portrait of a Judge 


Height, 31 inches; width, 29 inches, 


% 


, eis i v4 J 
i vi fest 192 5 gy db 4p 212 een’ 
| SIR PETER LELY England 


Nell Gwynne 


This charming portrait shows a handsome color scheme of brown 
tints in the costume, and luminous flesh color. The figure is painted 
in three-quarters length, seated, with the left hand lying in the lap, and 
the right fingering the soft, long tresses which hang over the shoulder. 
The gown is of brown satin, with under-dress and sleeves of white. A 
string of large pearls encircles the neck. The picture is delightfully 
attractive in general aspect, and painted with artistic breadth. 


Height, 45 inches; width, 34 inches. 


‘) Yi Wi 
WILLIAM OWEN, R. A. England 


Born at Ludlow, England, in 1769; died in London, February 11, 
» 1825. He was a pupil of Charles Catton, and of the Royal 
Academy. He first exhibited subject pictures, such as ‘‘ The Blind 
Beggar of Bethnal Green,” ‘*‘ The Fortune Teller,” and the ‘*‘ Mother 
and Child,” in the present collection. Later, as a portrait painter, 
he became the rival of Sir Thomas Lawrence, John Hoppner, and 
Sir William Beechey. He was appointed portrait painter to the 
Prince of Wales in 1810, and, in 1813, principal portrait painter to 
the Prince as Prince Regent. He became a royal academician in 


1806, 
Mother and Child 


A well-composed group of two figures, showing a pretty young 
woman, with dark hair, kneeling, while she holds her child near her 


71 


with her right arm. The child has a kitten in its arms, and wears a 
little white shirt. The mother is dressed in a skirt of light blue witha . 
low, loose bodice of white linen. Both faces are characteristically Eng- 
lish, and the artist has reproduced with fidelity both the type of features 
and expression, and the clear complexions of his sitters. 


Height, 52 inches; width, 39 inches. 


GD 


JOHN CROME 


Called ‘‘ Old Crome.” Born in Norwich, England, December 21, 
1769; died there, April 22, 1821. He was originally a coach 
painter, and entered the domain of the fine arts through the study 
of nature and pictures of the Dutch School. ‘‘Mousehold Heath,”— 
perhaps the best of his works, is in the National Gallery, London. 
He founded the Norwich School of Arts in 1805. 


A Landscape in Norfolk 


A broad road leads into the picture, with steep-roofed cottages on the 
right. Before the houses area woman and a child, and there is a group 
of dead trees on the right. The sky is cloudy, with warm gray and 
white masses, and the general tone of the picture, with its browns and 
yellows, is agreeable and effective. From the Dawson-Turner collec- 


* tion. Engraved. 


Height, 1414 inches; length, 22% inches. 


f ‘ 


, heal I 


JOHN CONSTABLE, R. A England 


Born at East Bergholt, Suffolk, England, June 11, 1776; died in 
London, March 30, 1837. Pupil of the Royal Academy and after- 
ward of Joseph Farrington and R. R. Reinagle. He at first 
painted portraits and historical subjects, but took up landscape and 
exhibited his first picture in 1802. He was not elected a royal 
academician until 1829, and his work was not appreciated or liked 
in his native country during his lifetime. In France he was recog- 
nized as a man of talent and new ideas, and French painters thought 
highly of his work. He is now generally considered one of. the 


72 


great English painters, and his pictures are in many Continental 
museums. ‘Two are in the Louvre, and there are examples of his 
work in the Metropolitan Museum, New York. 


Portrait of the Artist 


This picture is known as ‘‘ The Handsome Miller” and shows the 
figure in three-quarters length seated in an arm-chair. The head is 
turned full to the spectator and shows a manly, frank face. A table 
behind the chair has two books on it, and in one hand the artist holds a 
small leather-covered volume. He is dressed in a dark-blue coat and 
wears a white stock. An open window gives a view of a landscape in 
the distance. Head, figure, hands, and all the accessories are admir- 
ably painted. Purchased from Mr. J. D. Ichenhauser, London. 


Height, 50 inches ; width, 40 inches. 


Aa eae Pay 
eg. 196 bid, otbae 
Pim CONSTABLE, R.A, England 


View at Stratford-le-Bow, near London 


From the collection of J. W. Knight, Esq., London. The canvas is 
an oval one, and the composition shows a stream in the foreground, a 
church with a tall spire in the middle distance, and houses clustered on 
either bank of the stream. The sky is of deep blue with white clouds, 
and the color scheme is strong and effective. 


Height, 2zoinches; length, 24 inches. 


yy /} 
Ye 
4 td: = 197 he fey Dantt 
WILLIAM HOGARTH England 


Born in London, December 10, 1697; died there, October 26, 1764. 
After being apprenticed to a silversmith, from whom he learned to 
engrave arms and monograms on plate, he became a student in 
St. Martin’s Lane Academy. He began business as a silversmith 
about 1720, and engraved book-plates, He afterward took up 


73 


ee 
a 


a 


portrait painting and achieved good success, In 1753 he com- 
pleted a series of six pictures called ‘‘The Harlot’s Progress,” 
which was followed by other series called ‘‘ The Rake’s Progress,” 
and ‘‘ Marriage a la Mode.” In 1757 he published a work en- 
titled ‘‘ The Analysis of Beauty.” His famous portrait of himself 
with his dog Trump is in the National Gallery, together with the 
‘Marriage a la Mode” series of six pictures, and seven other 
works. 


Portrait of Colonel Charles Howard 


In the left upper corner of the canvas is a coat of arms and the in- 
scription ‘‘ Charles Howard, Esq., Colonel of a Regiment of Foot, 
second son of Charles, third Earl of Carlisle.” The figure is dressed in 
a coat and waistcoat of blue with a white shirt-front. The face is rosy, 
and the expression of the blue-eyed colonel is frank and engaging. 
The painting is careful and characteristic. Purchased from Mr. J. D. 


Ichenhauser, London. 
Height, 30 inches; width, 2434 inches, 


A 


f) iy 
Bp gat 198 co funhawdlre 
SIR JOSHUA REYNOLDS, P.R.A. England 


Born at Plympton, Devonshire, England, July 16, 1723; died in 
London, February 23, 1792. He went to London in 1741 as a 
pupil of Thomas Hudson, and in about two years returned to 
Plympton and painted portraits at low prices. In 1746 he again 
went to London and began to practise his profession there. In 
1749 he accompanied Commodore Keppel, afterward Lord Kep- 
pel, on a trip to the Mediterranean, and while in Rome, making 
studies in the Sistine Chapel, caught a cold, which brought on per- 
manent deafness. After two years in Rome and sojourns in other 
Italian cities he settled down in London in1753. In 1768 he was 
chosen first president of the Royal Academy and was knighted by 
George III. He exhibited 245 works at the Academy, his con- 
tributions averaging eleven a year. He died unmarried, and was 
buried in St. Paul’s Cathedral. He is generally conceded to be 
the greatest of England’s portrait painters. The National Gal- 
lery contains some of the best of his works, but there are others in 
public museums and private collections. Sir Joshua painted all 


74 


the great men of his day and many beautiful women. The list 
of his portraits is a long catalogue of notables. 


Portrait of Dr. Samuel Arnold 


Musical Composer 


The head, slightly bent forward, is seen in profile over the sitter’s 
shoulder. A white peruke and a gray coat make up the costume. In 
the background there is a pillar on the left and a sky with dark clouds. 
The face shows strong character, and the painting shows solidity and 
able modelling. Purchased from Mr. J. D. Ichenhauser, London. 


Height, 29 inches; width, 2434 inches. 


ete «fo i ify es 
ee OLS 
ILLIAM DOBSON England > / 


Born in Holborn in 1610; died in London, October 28, 1646. e 
| learned to copy Van Dyke so accurately that the great artist was 
attracted by him and introduced him to Charles I. After Va 
’ Dyke’s death he became sergeant-painter and groom of the priv 
chamber. He painted portraits of Charles I. and other notable 
personages. His works may be seen in some of the chief public 
and private collections in England. 


Portrait of Dryden 


The subject is shown at half length, seated, with an open book ona 
table before him and the right hand in the leaves. The left hand is 
placed at the side of the head ina thoughtful attitude. The coat, or 
gown, is of black, open at the neck, with the white shirt showing effec- 
tively, and at the wrists the full sleeves appear. The face is almost full 
to the spectator and is dignified in expression. The poet seems to be 
represented at about the age of forty-five. 

Height, 30 inches; width, 25 inches, 


Ye oi a} i, rafal 


Ai te oo 
C\\ SIR GODFREY KNELLER, Bart. Dutch Schoc 


Born at Liibeck, August 8, 1646; died at Twickenham, England, 
November 7, 1723. He is said to have studied under Rembrandt 


as 


and Ferdinand Bol in Amsterdam. He went to England in 1674, 
received a flattering welcome from Charles II., and after the death 
of Sir Peter Lely was made court painter. His ‘‘ Beauties of 
Hampton Court” are mentioned generally as among the best 
specimens of his work. Fifteen of his portraits are in the National 
Gallery, London. Portraits of Addison, Pope, Dr. Wallis, and 
himself are in the Bodleian Library at Oxford. Other works are 
to be found in the principal Continental museums. 


Portrait of Milton 


The great poet is painted in half length, with the face full to the 
it spectator. The face is framed in long locks of dark hair. Under the 
i right arm is a large book, and the left hand is extended asif making an 
i appropriate gesture while speaking. The subject wears a coat of dark 
|| o® brown, a white shirt showing at the neck and wrists. The canvas is 
| warm and agreeable in color. 


Height, 30 inches; width, 25 inches. 


‘4 
1 s } hi 
| / 


anes 7 ee % J pf S 
| vag) 217 444.9 UAAtd tre 
| SIR HENRY RAEBURN, R.A. Scotland 


Born at Stockbridge, near Edinburgh, March 4, 1756; died there, 
July 8, 1823. He was first apprenticed to a goldsmith, then took 
up miniature painting, and finally the painting of portraits. He 
won high rank in his profession, and on the visit of George IV. to 
Edinburgh in 1822 he was knighted. He was elected a royal 
academician in 1815. Nine of his portraits are in the National 
Gallery, London, and others are in public collections in Scotland 
and England. 


Portrait of Lord Byron 


This is an effective and beautiful picture with the color well pre- 
ee served and fresh looking. The face is handsome, and the expression 
lated life-like. Lord Byron is shown at half-length, seated, with his head 

turned to look over his left shoulder. Thecostume consists of a brown 
coat with black velvet collar, and a black velvet waistcoat. A rolling 
collar and white stock form the neck dress. The head is painted with . 
breadth and shows good drawing and simple modelling. 


Height, 28% inches; width, 23 inches. 
76 


A 


/) VA Vf 
vA pi ty 7: va 202 LT eh AOA thr 


GEORGE MORLAND | England 


The Wreckers 


From the collection of William Howgate, Esq. A scene on the sea- 
shore, with a great cliff on the right of the composition. A group of 
people is seen about a sailboat drawn up on the beach, and a vessel 
stranded appears off shore, with the wind blowing into rags what is left 
of her sails. Only one mast is left standing. A figure of a woman in 
the group, clad in a white cloak, makes a strong note in the color 
scheme, which is conceived in sober tints, and the sky shows the fury of 
the weather. 

This picture is painted in that style of the master where he resembles 
Gainsborough. 


Height, 25 inches; length, 30 inches. 


lee 203 Ce 2a 
RICHARD WILSON, R. A. England 


Italian Landscape 

A very fine example, in the best style of the celebrated English painter. 
On the right aman and woman are seated under an umbrella, with great 
trees growing above them. A road leads down to the river, witha 
horseman half way to the shore; and on the left, on a high bank, or 
promontory, is a rude cross, before which two men are kneeling. On 
the opposite shore there are classic buildings, and there are hills and 
mountains in the distance. The sky of blue, with gray clouds, is beau- 
tiful in tone, and the landscape is suffused with a balmy atmosphere. 


Height, 18 inches; length, 23 inches. 


| Y pe Die 

Ag pemee A ff | 

Mens 204. Oo: MR 7) ae ot 

JAMES STARK Norwich, England 
1794-1859 


James Stark, one of the prominent figures in the so-called Nor- 
wich School, was the son of adyer. In 1811 his father set him 


77 


* to studying art under ‘‘ Old Crome,” to whom he was regularly, 
articled as an apprentice, according to the custom of the time. 
Stark developed into one if not the best of Crome’s pupils, but 
he failed to find appreciation in his native city. Thoroughly dis- 
couraged, he went to London, where, in 1817, he became a student 
at the Royal Academy, and commenced to find a sale for his pic- 
tures. In 1840 he settled at Windsor, where he found an abun- 
dance of subjects for his brush, but later returned to London, 
where he died, March 24, 1859. Stark was one of the most dis- 
tinctively national of English landscape painters. He had imbibed 

»» the very essence of his native scenery, and his pictures hold a de- 

- served rank among the foremost productions of their time. 


Old Bridge in Norfolk 


A typical English landscape in an old town. <A stone bridge appears 
in the centre of the composition, with a square white tower in the back- 
ground, and houses on either side. A boat in the stream is seen on 
the left, and there are figures in various places. A turbulent sky and 
| warm tints of yellow and brown in the buildings are notable features in 
i the color scheme. ; 


a é 
Hh Signed at the right. Height, 24 inches; length, 28% inches. 


P38 70. ait Wi Thr 
JoiM. W. ‘TURNER, R.A. England 


Born in London, April 23, 1775 ; died there, December 19, 1851. 
Entered the schools of the Royal Academy in 1789, studied per- 
spective under Thomas Malton, and architectural drawing with 
Hardwick. Elected a royal academician in 1802. In 1807 was 
professor in the Royal Academy and began his drawings for the 
Liber Studiorum. Died unmarried after a life of the greatest suc- 
cess, leaving his large fortune to found an institution for indigent 
artists and his pictures to the nation. The National Gallery thus 
’ : came’ into possession of about one hundred of his finished pictures. 


Nelson’s Funeral Car Departing from Green- 
wich Hospital 


A barge draped in black appears in the middle of the composition, 
while other barges draped in crimson follow in the wake, and still others 


78 


are scattered about the river opposite Greenwich Hospital. Flags are 
at half-mast, and there is an air of ceremony in the surroundings. The 
funeral barge is rowed by seaman in blue jackets. Vapor rises from 
the river, and there is smoke from saluting guns. The picture is in- 
describably brilliant and forceful in color ; sky, water, and the domes of 
the buildings uniting in a wonderful harmony of many tints. A re- 
markable example of Turner’s work. Exhibited at the Yorkshire Fine 
Arts and Industrial Exhibition at York, in 1866, under catalogue num- 
ber 249, being then the property of J. Wardrop, Esq., who had been 
surgeon to George the Fourth and an intimate friend of the painter. 
Later from the collection of Colonel Joicey of Newton Hall, Stock- 


freldon. 
Height, 1814 inches; length, 28% inches, 
| Ai 
A A 206 XY4e22 Ait it ter— 
FEDERIGO ZUCCHERO Italy 


Born at St. Agnolo in Vado, Urbino, in 1543; died at Ancona in 
1609. Roman school, and pupil of his brother Taddeo Zucchero. 
Executed various important mural paintings in Italy and painted 
portraits of many distinguished persons, including Queen Elizabeth 
of England. He founded the Academy of St. Luke and left all 
his property to it. Author of a treatise on painting, sculpture, and 
architecture. 


Robert Devereux, Earl of Essex 


From the collection of Lord St. Leonards, lord chancellor of England. 
Half length portrait, white ruff of gauze and lace, pourpoint of white 
and gold, and black ribbon supporting order or medal below the bottom 
of canvas. This fine head, with dark red beard, is strongly and sympa- 
thetically painted and is a splendid work, valuable for its artistic and 


historical importance. 
Height, 23% inches; width, 18 inches. 


Disitdh f 
BM 207 a aA TY, Lravtlr 
FEDERIGO ZUCCHERO Italy 
Hernando Cortez 


From the collection of Lord St. Leonards, Lord Chancellor of Eng- 
land. The head is shown in almost full face in an oval painted on the 


79 


canvas. The ruff around the neck and the other parts of the costume 
are carefully painted white, the face is strong in expression, and the 
whole work is vigorous and able. This is a fine piece of portrait paint- 
ing and notable for its fine firm modelling. 


Height, 22% inches; width, r7% inches. 


5 es Br 4 
THOMAS DE KEYSER . Holland 


a.* Born in Amsterdam in 1596 or 1597; died there; buried November 
19, 1679. He painted portraits and historical and genre pictures, 
and his work is said to have influenced Rembrandt when he came 
to Amsterdam in 1631. Works in the National Gallery, London; 
Versailles, Amsterdam, The Hague, Haarlem, Berlin, Copenhagen, 
Munich,.and other museums. 


Portrait of a Lady 


From the Mapleson collection. This, a lady of rank evidently, is 
dressed in black, with a white muslin collar bordered with lace, anda 
gauze cape also trimmed with lace over her shoulders. She wears ear- 
rings with large pearls,and has a dandeau ornamented with pearls 
on her head. This portrait is very finely drawn and is painted with 
Ii directness and simplicity. The face is very luminous and fresh in color, 
| and the aspect of the picture is in every way attractive. Remarkable 
for its absolutely perfect preservation of color values. 


Height, 21 inches ; width, 18 inches. 


yaaa 


WILLEM VAN MIERIS Holland 


it Born at Leyden in 1662; died there, January 27,1747. He was the 
| son of Frans van Mieris the elder, and his genre pictures are 


80 


] 
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i 
; 
% 
| 
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4 
; 
: 


similar in style and execution to the work of that master. He died 
blind at the age of eighty-five. His pictures are found in all the 
principal European galleries. 


The Fainting Woman 


A lady overcome by a migraine, or some sort of a fainting spell, is 
seen seated in a chair, with her left arm resting on a pillow placed on 
a table at her side. Her costume consists of an orange-colored skirt 
and a green velvet jacket trimmed with ermine. An elderly woman 
bends over her, and is in the act of holding a bit of burnt paper under 
her nose, thus hoping to revive her. It is a characteristic genre, akin 
in style to the work of Metzu, and is remarkable for its general fine, 
rich tone, for the delicacy of the white portions of the costumes, and for 
the clear, cool-tinted flesh tones in faces and hands. 


Height, 1914 inches; width, 154 inches. 


* 


f 
: | Gs eh ‘4 
b ~ 0 210 ibe CLE rN Ant 
SIR ANTHONY VAN DYCK Holland 


Born in Antwerp, March 22, 1599; died in London, December g, 
1641. Apprenticed by his father, Francis Van Dyck, when ten 
years of age, to a linen draper, but at sixteen entered the studio of 
Rubens as his pupil and became his principal assistant. His talent 
developed rapidly, and he was much esteemed by Rubens, who 
helped him in many ways and secured commissions for him. 
Through the influence of Rubens he painted a portrait of King 
James I, of England, at Windsor, in 1621. He next sent him to 
Italy, where Van Dyck achieved great success, but excited the 
jealousy of other artists at Rome. He went to Genoa, in conse- 
quence, in 1624, and returned to Antwerp the following year. 
Here he was met by enemies also, but Rubens bought some of his 
pictures, and Van Dyck soon found himself on the high road to 
success, Charles I. invited him to England in 1630, and Van 
Dyck went there in 1632. He painted the king, the queen, and a 
picture of the royal family, which is now at Windsor. He was 
knighted and appointed court painter. During the next nine 
years he painted nineteen portraits of the king, seventeen of the 
queen, and several of their children. He lived beyond his means 
and became financially embarrassed. He went to France in 1641, 


6 81 


hoping to obtain the commission to decorate the galleries of the 
Louvre, the royal residence, but through the influence of Cardinal 

* Richelieu the work was given to Poussin. Van Dyck finally 
returned to England in broken health, and died there. He was 
buried in St. Paul’s Cathedral, London. 


The Beggar 


From the De Zoéte collection, London. The picture represents a 
man of middle age, his hair and beard tinged with gray, who, with 
his face uplifted, holds out his hat, while he asks for alms. The coat 
and background are dark, while the head, with a bit of dull white 
collar showing at the throat, is very strongly modelled, and detaches with 
fine relief. The color scheme is a sober one, and the flesh tints show 
broad, forceful painting. The expression of the beggar’s face is gentle 
and sympathetic. Purchased from M. Charles Sedelmeyer, Paris. 

Height, 30% inches; width, 22% inches. 


FRANS HALS Holland 


Born in Antwerp, in 1584; died in Haarlem, August 26, 1666. 
Pupil of Karel van Mander. He painted principally de premier 
coup, was a prominent teacher in the Dutch school, and may be 
said to have founded a national style. Asa painter of portraits he 
ranks with the great masters of the world’s art. He was irregular 
in his habits and was never prosperous. In 1664, as he was with- 
out means of support, he was pensioned by the municipality of 
Haarlem, Principal works in the Dutch museums, especially at 
Haarlem, Well represented in the chief galleries of Europe. 


Portrait of a Professor 


On the upper part of the canvas, just above the shoulder on the 
right, is the signature of the artist in his well-known monogram com- 
posed of the capital letters F and H. On the opposite side is the in- 
scription, ‘‘Aitatis 48, a 1637,” which indicates the age of the sitter at 
the time the portrait was painted. The picture represents a professor 
of Latin in the University of Leyden, probably, in the act of address- 
ing his class, holding in his left hand a book. <A black gown anda 
white ruff compose the costume. The expression of the face is given 
with great force, and the portrait is painted with characteristic vigor 
and freedom of handling. 
_ Signed at the right. Height, 27 inches; width, 2144 inches. 
82 


5 gral aad 
fhe 212 bt: eee 
LUDOLF BACKHUYSEN Holland 


Born at Emden, Hanover, December 18, 1631; died at Amster- 
dam, November 17, 1708. Pupil of Aldert van Everdingen and 
of Hendrick Dubbels, but chiefly studied from nature. It is said 
of him that he exposed himself to great danger in order to: study 
the sea in its various aspects. Peter the Great visited his studio 

_in Amsterdam. His ‘‘ Dutch Squadron” and four other pictures 

_ are in the Louvre, and his works are found in the museums of Ant- 
werp, Amsterdam, St. Petersburg, Berlin, Vienna, and other Pare 
and in the National Gallery, London. 


Marine 


The scene is in a harbor, with two sailing vessels close together in the 
middle of the composition, and a man-of-war to the left, firing her guns 
in salute. The effect is in gray weather, and the sea is calm. The 
water in the foreground reflects the white sail of one boat and the dark 
red one of the other, these notes of color appearing with fine effect in 
the otherwise quiet color scheme. The sky is filled with great banks 
of white clouds. A fine example of this renowned artist’s work. Pur- 

-chased from Ichenhauser, London. 
Height, 211% inches ; length, 2714 inches. 


tal ee 213 oie ee 
PAULUS POTTER Holland 


Born at Enkhuysen, northern Holland; baptized November 20, 
1625 ; died in Amsterdam; buried January 17, 1654. Son’and 
pupil of Peter Potter, and famous the world over as a painter 
of cattle and landscape. His family settled in Amsterdam in 
1631, and in the following year he went to study in Haarlem un- 
der Jacob de Weth the elder. His precocity attracted attention at 
Delft, where he was made a member of the Guild of St. Luke, 
and at The Hague, where he resided from 1649 to 1652. His 
most famous work, ‘‘ The Young Bull,” in The Hague Museum, 
was painted in 1647. He painted from 130 to 140 pictures, nearly 
all of them between 1647 and 1654. 


Landscape and Cattle 


This composition shows a group of three cows in a meadow, with 
trees to the right, and a cow and sheep in the distance, A calf lies on 


83 


the grass, in the left foreground, in the shade ; and near a fence, also on 
the left, there is a milkmaid, an elderly woman, in a blue bodice and 
red skirt, who carries a yoke on her shoulders, supporting two pails. 
This figure is very finely painted, and the cows and landscape are in 
the master’s best style. The horizon is low, and the sky is of re- 
markably luminous quality. From the Colonel Mapleson collection. 


Signed at the right. Height, 22 inches; length, 29 inches. 


: 
aN ae 
‘ Meee’ 5 
2s00-7 BAG! 


PAOLO ‘VERONESE Italy 


Born in Verona in 1528; died in Venice, April 19, 1588. His real 
name was Paolo Caliari, or Cagliari, and he was the son of Gabrieli 
Caliari,asculptor. Vasari says he was a pupil of Giovanni Caroto, 
but according to Ridolfi, his master was Antonio Badile. After 
painting in Verona and in Mantua, he settled in Venice, where he 
executed most of his work. He shared the most important public 
commissions, when he was in his prime, with Tintoretto, for Titian 
was at that time very old. He received many honors from royal 
and ducal patrons and admirers, and his is one of the greatest 
names in the art of the Italian Renaissance. 


Esther Before Ahasuerus 


From the Blenheim collection of the Duke of Marlborough. At the 
left of the picture King Ahasuerus is seated on his throne, with a secre- 
tary and a soldier on his right, and two courtiers on his left. He is in 
the act of conferring sovereign power upon Queen Esther, who receives 
it kneeling, while four maids of honor and a page support the train of 
her robe. The queen’s costume is of splendid figured stuff, richly em- 
broidered, and on her shoulders is a mantle of gold and white, with a 
light-blue lining. Her crown sits on her blonde head, and a string of 
pearls hangs from it. The ladies in waiting are in rich robes of rose 
color, white, and gold, with tassels attached to the sleeves. The groups 
Mt made by the queen and her ladies are painted in full light, with the 
i figure of the queen dominating the composition. The king and his 
f attendants are in shadow. The background, with great ornamented 
pillars, archways, columns, and other architectural forms, shows a vista 
of sky and buildings without. The composition is very imposing, and 
the work is painted with a rich color scheme, in the masterly style of the 
great artist. 


Height, 66% inches; length, 85 inches, 
84 


Le : 

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if ie Pie. id 215 <7, afm GR ane 
| FREDERICK A. BRIDGMAN ___ United States 


Contemporary 


Oriental Figure 


Early example of the artist. 
Height, 22 inches; width, 18 inches. 


United States 


oC? 
Pd. | 216 

LYELL CARR 
After an Oyster Supper 


Height, 13 inches ; width, 9% inches, 


no 0? au7 Pas ge I. 
| UNKNOWN 
Nude 


Height, 16 inches; width, 2: inches. 


SPANISH SCHOOL 


Portrait of a Nuncio 


f os 4 


From the Gabalda collection. 
Height, 13 inches; width, 10 inches. 


AUTHENTICATED RELICS OF 


LORD BYRON AND NAPOLEON 


FINE BRONZES, OLD CHINA 
ENAMELS, BRIC-A-BRAC 


ANTIQUE FURNITURE AND 
FINE OLD RUGS 


87 


an oe 
= — Se —— 


paca SS 


FIRST AFTERNOON’S SALE 


MONDAY, APRIL 24TH 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 3 O'CLOCK 


219—CHINESE PORCELAIN MINIATURE VASE, 
Medallion decoration, figures and flowers. 


220—CHINESE PORCELAIN SMALL VASE. 
Figures and flowers in medallions. 


22I—JAPANESE PORCELAIN TURTLE. 


222—K AGA PORCELAIN TALL CUP. 
Decorated in bright colors and gold. 


223—K AGA TEA-JAR. 
Richly decorated in coral-red and gold. 


224—PairR Ki0TO FAIENCE VASES, 
Figure supports. 


225—ANTIQUE FAIENCE BOWL. 
Floral decoration. 
89 


226—PERUVIAN POTTERY WATER-JUG. 
‘Monkey in relief. From excavations in Ancona, 


227—-ANTIQUE AZTEC POTTERY BOWL, 
Incised surface. From excavations in Ancona, 


228—PERUVIAN POTTERY WATER-JUG. | 


229—Two GREEK PoTTERY GLOBULAR VASES. 
230—ANTIQUE GREEK POTTERY PITCHER-VASES, 
23I1—ANTIQUE GREEK POTTERY COVERED JAR. 


232—PORTUGUESE FAIENCE CUP AND SAUCER, 
Relief ornamentation. 


233—PORTUGUESE COVERED BOWL. 
Ornamented in imitation of moss. 


234—BOHEMIAN GLAss Muc. 


Enamelled decoration of Austrian coat-of-arms, 
From the collection of Chevalier De Tavera, 
Envoy Extraordinary and Minister Plenipoten- 
tiary of Austria-Hungary. 


235—ENGLISH FAIENCE BLUE AND WHITE PITCHER, 
Relief ornamentation, hunting scene. 


236—THREE DRESDEN CHINA Cups AND SAUCERS, 
Rose decoration, 


237—EMPIRE SMALL Cup AND SAUCER, 
Gold glaze, 


238—PERFUME-JAR. 
Japanese cloisonné enamel, 
go 


239—SMALL VASE. | 
Japanese cloisonné enamel ; fine workmanship. 


240—PAIR DRESDEN STATUETTES, 


241—Two SMALL JAPANESE Ivory CARVINGS, 


242—JAPANESE Ivory CARVING, 
Fisherman and frog. 


243—TIwo JAPANESE SMALL Ivory CARVINGS, | 


5 | 


244—CARVED Ivory NETSUKE, 
Sacred ox, in repose. 


245—JAPANESE SMALL Ivory CARVING. ; 
Carpenter at work, 


246—JAPANESE CARVED Ivory PERFUME-BOX. 


247—JAPANESE Ivory CARVING. 
Human skull, serpent, and frog. 


e 


248—CARVED Ivory INRO, 


249—JAPANESE Ivory CARVING. 
Gardener and child. 


250—JAPANESE Ivory CARVING. 
Fisherman annoyed by grasshopper, ' *} 


25I—JAPANESE Ivory CARVING. 
Farmer. 


252—JAPANESE CARVED Ivory Group, ' 
Fisherman, 
gI 


253—-CHINESE PORCELAIN SNUFF-BOTTLE, 
Decorated with flowers and butterflies. 


254—Two CHINESE PORCELAIN SNUFF BOTTLES, 
Figure decoration, 


255—SNUFF-BOTTLE. 
Grasshopper decoration. 


256-—CRYSTAL SNUFF-BOTTLE. 


Decorated with landscape scenery on the interior 
surface. 


257—-CHINESE PORCELAIN SNUFF-BOTTLE, 


258—BLUE AND WHITE SNUFF-BOTTLE, 
Four-character mark. 


259—SNUFF-BOTTLE. 
Insect and flower decoration. 


260—BLUE AND WHITE SNUFF-BOTTLE. 
Figure decoration. 


26I—SNUFF-BOTTLE. 
Figures in coral-red and gold. 


262—BLUE AND WHITE SNUFF-BOTTLE, 
Figure decoration. 


263—SMALL VASE. 


Old Chinese porcelain ; tea-dust glaze; dragon 
in relief, 


264—MINIATURE PERFUME-BURNER. 
Medallion and vine decoration ; seal mark, period 
Ch’ién-lung. 
Q2 


a a 


265—Two MINIATURE BOTTLE-VASES. 
Rainbow glaze. 


266—MINIATURE CYLINDRICAL VASE, 
Sang-de-bauf. 


267—BLUE AND WHITE MINIATURE VASE. 
Character mark of the period Ch’ién-lung. 


268—Two MINIATURE VASES. 
Apple-green and yellow crackle. 


269—MINIATURE INCENSE-BURNER. 
Coral glaze with gilt decoration. Period, Ch’ién- 
lung. 


270—MINIATURE CYLINDRICAL VASE. 
Decoration in blue and copper-red. 


271—CHINESE MINIATURE BOTTLE-VASE. 
Blue and sang-de-beuf decoration. 


272—CHINESE PORCELAIN MINIATURE VASE, 
Figure decoration. 


273—CHINESE MINIATURE BOTTLE-VASE, 
Figure decoration ; seal mark. 


| 
i 
| 
'f 
| 
I 


274—Two CHINESE PORCELAIN MINIATURE VASES. 
Figure decoration in blue and copper-red. 


a 


—— 


275—BLUE AND WHITE MINIATURE VASE, 


276—CHINESE PORCELAIN MINIATURE VASE, 
Decorated in colors. 


277—CHINESE PORCELAIN BOTTLE-VASE, 
Bleu-de-Nankin and copper-red decoration. 
93 


278—Two MINIATURE QUADRANGULAR VASES. 
Glazed to imitate marble. 


279—CHINESE PORCELAIN WINE-CUP, 
Shape of peony; coral-red glaze. 


280—BLUE AND WHITE SNUFF-BOTTLE. 


281—CHINESE IvORY-WHITE PORCELAIN VASE. 
Bottle shaped ; lizard in relief encircling neck. 


282—CHINESE APPLE-GREEN VASE. 


Ovoid shape. 
Height, 5% inches. 


283—CHINESE BOTTLE-SHAPED VASE, 


Lemon-yellow glaze. 
Height, 8 inches. 


284—OVvoID VASE, 
Old Chinese porcelain; tea-dust souffé glaze. ' 


Height, 7%4 teches. 


285—THICK-SET BOTTLE-VASE, 
Chinese porcelain; red glaze. 
Height, 9% inches. 


286—BOTTLE-SHAPED VASE. 
Old Chinese porcelain ; fine liver-color glaze, 


Height, 11 inches. 


287—CHINESE PORCELAIN VASE. 


Bottle-shaped, flaring neck and base ; coral-red 


glaze. 
Height, 9% inches. 


94 


288—BOTTLE-SHAPED VASE. 
Chinese porcelain ; liver-color glaze. 
Height, 834 inches, 


289—CHINESE PORCELAIN JAR. 
Lemon-yellow glaze; six-character mark of the 


period K’ang-hsi. 
Height, 9 inches. 


290—LEMON-YELLOW JAR. 
Companion to the foregoing. 


29I—ANTIQUE CHINESE TURQUOISE-BLUE VASE. 
Cylindrical shape ; minute crackle throughout. 
Height, 14 inches. 


292—IMPERIAL YELLOW VASE, 
Old Chinese porcelain ; cylindrical shape. 
Height, 12 inches. 


2903—CHINESE PORCELAIN JAR, 


Ovoid shape ; aubergine glaze ; character mark 


of the period K’ang-hsi. ! 
Height, 9 inches. 


294—TALL CYLINDRICAL VASE, \ 


Chinese, rich blue soufié glaze; six-character 


mark, 
Height, 1514 inches. 


295—CLUB-SHAPED VASE, 


Old Chinese porcelain, mirror-black glaze ; origi- 


nally decorated in gold. 
Height, 18 inches. 


95 


296—ANTIQUE CHINESE BOTTLE-SHAPED VASE, 


Turquoise-blue glaze with dark mottling, metal- 


lic spots ; fish-roe crackle, 
Height, 18 inches, 


297—POWDERED BLUE CLUB-SHAPED VASE, 
Ring mark of the period K’ang-hsi. 
Height, 18 inches. 


298—GALLIPOT. 


Chinese porcelain of heavy texture ; flambé and 


splash glaze. 
Height, 14 inches, 


299—LARGE BOTTLE-SHAPED VASE. 
Old Chinese ; rich dark-blue souffé glaze. 


Height, 17 inches. 


300—-CHINESE PORCELAIN VASE, 


Bottle-shaped; gray splash glaze, with flambé 


markings. 
Height, 14 inches. 


30I—LARGE OLD CHINESE GIANT-CRACKLE JAR, 
Ovoid shape ; pale green celadon glaze, 
Height, 14% inches. 


302—TALL CYLINDRICAL VASE. 
Chinese porcelain, heavy texture, rich red glaze. 


Height, 24 inches. 


303—CHINESE CRACKLE JAR. 
Decoration of floral designs in blue. 


Height, 12 inches. 
96 


304—FINE BLUE AND WHITE BOTTLE-VASE, 


Ovoid shape ; decorated with Chinese CHa ak 
cal subject ; character mark, period Ka-hsing. 
Height, 13% inches. 


305—Two OLD BLUE AND WHITE GOURD-SHAPED VASES, 


306—-LARGE JAR, 


Old Chinese porcelain; conventional floral designs 


in deep blue. 
Height, 12% inches. 


307—LARGE JAR, 
Similar to the foregoing. 


308—FInE OLD CHINESE HAWTHORN GINGER-JAR. 
With cover; sapphire-blue opaque glaze, blos- 
soms in white reserve. 
Height, 10 inches. 
309—HAWTHORN GINGER-JAR AND COVER. 


Old Chinese porcelain ; clusters of blossoms in 
white reserve on opaque blue ground, marked to 
imitate cracked ice ; ring mark of K’ang-hsi., 


Height, 10 inches. - 


310—LARGE HAWTHORN JAR AND COVER. 


Ovoid shape; branches of blossoms running up- 
ward and downward in white reserve, fine blue 
ground of “ cracked-ice’”’ design ; double-ring mark 


of the K’ang-hsi period. 
Height, 18 inches, 


31I1—EARLY MING POTTERY JAR. 
Square shaped ; fine iridescent green glaze. 


Height, 9 inches. 


312—-OLD CHINESE PORCELAIN BOWL. 


Liver-color glaze, 
Diameter, 714 inches. 


313—IMPERIAL YELLOW BowL, 


Semi-eggshell porcelain; five-claw dragons and 
symbolical pearl incised and glazed with emerald- 
green ; six-character mark of the period K’ang-hsi. 


Diameter, 6 inches. 


314—UNIQUE CHINESE PORCELAIN GROUP. 
Decorated in various colors ; teakwood stand. 


Height, 11 inches. 


315—Pair EGGSHELL LANTERNS. 


Globular shaped; imperial yellow glaze with 
dragons amid clouds incised and enamelled in vivid 


green, 
Height, 74 inches. 


316—LARGE CHINESE PORCELAIN BOWL. 


Rich medallion decoration on interior and ex- 


terior surface. 
Diameter, 15% inches, 


317—FINE OLD SATSUMA SAKI-BOTTLE, 


Quadrangular shaped ; exquisitely decorated with 
pheenixes, flower-ball, crest, and other designs in 
brilliant enamels on gold ground. 

Height, 9 inches, 


318—OLpD ImaRI Bowt. 


Conventional floral decoration in bright colors 
and gold. 


Diameter, 9 inches, 


319—OLD PoTTERY VASE. 
Ovoid shape, rich brown splash glaze. 
Height, 8 inches. 
98 


a 


320—ANTIQUE IMARI BOTTLE. 


Square shaped; decoration in bright colors, 
figure, pine-tree, and floral crests. 


Height, 9 inches. 


321—OLD ARITA PORCELAIN JAR, 


With cover; decoration painted in bright enamels; 
daimio figures in medallions, which are surrounded 
by conventional floral patterns. 


Height, 16 inches. 


322—GLOBULAR JAR. 
Enamelled in fine lavender color. 


Diameter, 8% inches. 


323—CLOISONNE ENAMEL VASE. 


Opaque black ground with archaic bands, crest, 
symbols, and other designs in exquisitely com- 
bined enamels; silver wires. 

Height, 10 inches. 


324—CLOISONNE ENAMEL ROSE-JAR. 


Fine, boldly drawn dragon in various enamels 


on red opaque ground, i 
Height, 7 inches. .. 


325—SMALL VASE, 
Fine cloisonné enamel, ornamentation of pro- 
fuse floral design on aventurine ground. 


Height, 5 inches. 


326—CLOISONNE ENAMEL PERFUME-JAR, 

Octagonal shape; panel decoration in brown 
and yellow enamel with butterfly and floral de- 
signs in finely combined colors, 

Height, 5 inches. 
99 


327—PAIR MINIATURE VASES. 
Illustrating the process of cicualen enamel. 
- Height, 3% inches. 


328—CLOISONNE ENAMEL VASE, 


Quadrilateral shaped; exquisite floral designs in 
various enamels and silver wires on rich black 


ground, 
Height, 10 inches. 


329—CLOISONNE ENAMEL ROosE-JAR. 


Egg shaped, on tripod; mosaic and archaic 
designs in finely combined enamels on red opaque. 


ground, 
Height, g inches, 


330—OvoID VASE. 
Fine Japanese cloisonné enamel, plum-color 
ground with flying cranes and flowering plants 
- in natural colors ; mosaic band at neck. 


Height, ro inches. 


33I—CLOISONNE ENAMEL JAR. 


Globular shaped with wide mouth; canary-yel- 
low ground, with kingfisher, lotus, and chrysan- 


themum in natural colors. . 
Diameter, 9 inches. 


332-—-PAIR OLD SHIPPO VASES. 


Beaker shaped; mosaic. and floral designs in 


low-toned enamels. 
Height, 15 inches. 


333—-JAPANESE CLOISONNE VASE, 
Ovoid shaped, with flaring neck, opaque red 
band with flowers and birds in finely combined 
colors, leaf-pattern border, with detached flowers 


in natural colors. 
Height, 12 inches. 


100 


334—Pair LARGE JAPANESE CLOISONNE ENAMEL VASES; 

Pale blue ground with branches of blossoms 
and birds in finely combined natural colors ; band 
at neck of aventurine enamel and floral crests, 


Height, 21. inches, © 


335—GRAND CLoIsoNNE ENAMEL VASE. a 
Tall ovoid shape with spreading neck; rich 
floral and bird designs on pale blue ground ; black 


band at neck. 
Height, 34 inches. 


336—LARGE CLOISONNE ENAMEL VASE AND PEDESTAL, 
Cylindrical shaped ; turquoise-blue ground with 

flowers, birds, and butterflies in natural colors. 

i Height, 29 inches. 


337—LARGE CLOISONNE ENAMEL VASE, 
Companion to the foregoing. 


338—JAPANESE BRONZE MIRROR. 


339—JAPANESE BRONZE PLAQUE. 


Repoussé chased ornamentation of flying ducks, 
cherry trees, and other desigiis ; silver finish ;-seal 


mark. | 
A Velo 12 inches. 


340—OLD CHINESE BRONZE AND GILT INCENSE-BURNER. 


Square shaped, on feet ;_ relief ornamentation, 
scroll handles, and ‘openwork cover. | 


Height, 8 inches. 


341—OxLpD CHINESE BRONZE KILIN, 


Teakwood stand.: 
Iol. 


342—ANTIQUE CHINESE BRONZE VASE, 


Low beaker shape; relief ornamentation and 


dragon handle, 
Height, 4% inches. 


343—ANTIQUE MAGOLIAN BRONZE BELL. 


344—UNIQUE CHINESE TUNING-BELL, 


Gold bronze ; various symbols cast in relief and 
chased ; dragon design handle. 
Height, 16 inches, 


345—PAIR JAPANESE BRONZE CANDLESTICK VASES. 


Figures of the long-arm and long-legged couple, 
silver finish. 4 


Height, 13 inches, 
346—ANTIQUE BRONZE TEMPLE-BELL, 
From Thibet ; engraved ornamentation, 


347—-PaIR JAPANESE BRONZE AND BAMBOO TALL CANDLE- 
STICKS, 


348—JAPANESE BRONZE TEMPLE-POST ORNAMENT. 


Surmounted by figure of hawk; rich brown 
patina, 


Height, 14 inches. 
349—ANTIQUE JAPANESE BRONZE INCENSE-BURNER, 


Tall cylindrical shape, on pedestal ; ornamenta- 
tion cast in high relief ; figure of deity surmounting 
cover. 


- Height, 17 inches. 
350—ANTIQUE JAPANESE BRONZE VASE. 


Inverted temple-bell supported by a boldly 
wrought dragon, with lamp fixture. 


351 —ANTIQUE JAPANESE BRONZE VASE, 
Companion to the foregoing. 
102 


fi 


352—Doe Foo. 


Old Japanese bronze, } 
Height, 14 inches. 


353—Doe Foo. 


Old Japanese bronze. 
Height, 12 inches. 


354—PaiR OLD CHINESE BRONZE VASES, 


Globular body, with bold flaring necks ; incised 
ornamentation of dragons and cloud-forms; bold 
dragon handles ; engraved inscription. 


Height, 14 inches. 


355—LARGE BRONZE VASE, 
With cover ; old Japanese, pilgrim shaped, on 
pedestal; relief ornamentation of dragon and 
archaic designs ; openwork cover, surmounted by 


Dog Foo; dragon handles. 
Height, 30 inches,’ . 


356—JAPANESE BRONZE JARDINIERE. 
Globular shaped, on tripod; relief casting of 
bird and flowers; rich brown patina. 


Height, 16 inches ; diameter, 16 inches. 


357— ANTIQUE JAPANESE BRONZE FLOWER-URN. 
Tripod support ; ornamented with dragons cast 
in bold relief; incised seal mark. 


Height, 13 inches ; diameter, 15 inches. 


358—GRAND OLD CHINESE CLOISONNE ENAMEL JARDI- 
NIERE, 
Black ground, with beautiful floral and butterfly 
designs in natural colors of enamel. 
Height, 21 inches; diameter, 25 inches. 
103 


SECOND AFTERNOON’S SALE 
TUESDAY, APRIL 25TH 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 3 O'CLOCK 


359—RED POTTERY BOTTLE, 
With cover; rich green glaze, 
Height, 9 inches. 


360—Two DrrEsDEN Cups AND SAUCERS. 
Sprays of flowers in relief and enamel. 


361—THREE DRESDEN CHINA SMALL PLATES. 
Juvenile scenes painted in colors; gilt border. 


362—WATER BOTTLE. 
Tokay red pottery; enamelled decoration. 


363—MajoricA TALL CANDLESTICK, 
Pastoral and floral designs painted in colors. 


364—RED POTTERY WATER BOTTLE AND TRAY. 
Enamelled floral decoration. 
104 


365—WHITE FAIENCE VASE. 


In imitation of Chinese ivory white ; crackle 
glaze. 


Height, 12 inches, 
366—FAIENCE FRUIT BASKET. 
| Relief medallions ; metallic and gilt glaze. 


367—DRESDEN CHINA BOWL. 
Rich floral decoration. 


368—Two PORCELAIN PLATES. 


Decorated with coat of arms and initials in 
gold. 


369—Four DRESDEN CHINA CUPS AND SAUCERS. 


Finely painted decoration, scenes from child- 
hood and floral subjects. 


370—Crown Dersy BOTTLE. 


Ivory-white texture, finely painted floral deco- 
ration. 


371—Pair MopERN Capo pi MONTE VASES, 
‘Trumpet shape. 
Height, 6 inches, 


372—WEDGWOOD PITCHER. 


Golden-brown ground, with ornamentation in 
white—relief. 


373—CROWN DeErRBy BOTTLE-VASE. 


Ivory-white texture ; finely painted floral eo 
ration, 


374—Four DRESDEN CHINA Cups AND SAUCERS, 
Finely painted decorations of figures of Cupids, 
insects, and flowers. 
105 


375—CROWN DERBY JAR WITH COVER. 
Richly decorated with bright colors and nai 
Height, 9 inches. 


376—PatR Crown Dery VASEs, 


Gourd shape; rich decoration of Oriental 


designs, 
Height, 8%4 inches. 


377—PORTUGUESE POTTERY PLAQUE, 


Splash glaze, border in imitation of moss, with 
lobsters and shells modelled in bold relief. 


Diameter, Io inches. 


378—ROYAL VIENNA CuP AND SAUCER. 


Medallion decoration, “Adonis and Nymph” ; 
rich red glaze, pencilled in gold. 


379—REpPoOUSSE METAL PERFUME Box. 
With serpent handle. 


380—THREE CRYSTAL GLASS VINAIRGRETTES. 
Mounted in silver. 


381—WEDGEWOOD VINAIRGRETTE, 


Pale blue glaze ; with classical figures exquisitely 
modelled in relief. 


382—Ivory CIRCULAR Box, 


Miniature of “ Madame Parabére,” painted by 
Leducy, inserted in cover, 


383—FINE Ivory CARVING. 
‘Subject, Prometheus ; with ivory pedestal. 


Height, 8% inches. 
106 


——————— ee 


a ae ee 


384—JAPANESE Box, 


Containing twelve carved ivory masks by Jap- 
anese artist. . 


385—Two Cups AND SAUCERS, 
Decorated with landscapes and figures in sepia. 


386—Two PATE TENDRE Cups, 
Floral bands ; rich blue and gold borders. 


387—SEVRES PATE TENDRE CUP AND SAUCERS, 
Louis Philippe period; exquisitely painted 
decoration. 


388—THREE SEVRES PORCELAIN SMALL PLATES. 


Pure white paste Louis Philippe period ; mono- 
gram and crown pencilled in gold. 


389—SEVRES PORCELAIN CUP AND SAUCER. 


Napoleon period, 1849; floral border, incised 
and gilt ground. 


390—EGGSHELL PORCELAIN CuP AND SAUCER. 


Pastoral and floral designs painted in medallion ; 
turquoise-blue glaze... 


391—T wo SEvRES PORCELAIN PLATES, 

Louis Napoleon period ; finely painted minia- 
ture portraits of “ Bonaparte” and “ Empress 
Josephine,” painted by Tascult ; rich green and 
gold borders, with the initial ““N” in medallions. 


392—Two RicHty DEecorATED Cups AND SAUCERS. 
Miniature portrait of ‘“‘ Madame Récamier ”’ and 
** Duchess de Montebello” ; turquoise glaze, with 
gilt interior and borders. 
107 


'393—PATE TENDRE PITCHER. 


Figure and floral medallions; kings’ blue and 
gold ground ; brass gilt mountings. 


394—Two FRENCH PORCELAIN PLATES, 


Decorated with coat of arms of Napoleon ; 
kings’ blue and gold pencilled borders. 


395—NINE SEVRES PORCELAIN CUPS AND SAUCERS, 


Semi-eggshell texture; pastoral subjects painted 
in medallions; turquoise-blue glaze and gold 
borders, 


396—NINE RICHLY DECORATED PLATES, 


Painted with miniature medallion portraits of 
“‘Marie Louise ”’ and other court beauties ; green 
glaze, with laurel branches and initial “N ” em- 
bossed in gold and silver. 


397—-EGGSHELL PORCELAIN CuP AND SAUCER. 


Pastoral subject painted in medallion on tur- 
quois-blue glaze. 


398—EGGSHELL PORCELAIN CUP AND SAUCER. 


Crown and monogram of “ Louis Philippe,” and 
cherubs painted in medallion, turquoise-blue 
ground, 


399—RICHLY DECORATED PLATE, 


Coat of arms of Napoleon in centre ; pencilled 
gold border. 


400—FINELY DECORATED PLATE. 
Decorated with miniature portrait of “ King of 
Rome”; initial ‘“N” in blue medallions ; gold 
pencilled border. 
108 


ee eS Te | 


Perera 


eS ae 


401I—DECORATED PORCELAIN PLATE. 


Medallion portrait of ‘“ Caroline Murat” ; pen- 
cilled gold border and embossed initial ‘“‘ N.” 


402—Two FINELY DECORATED PLATES, 
Entrance to the Court of Honor, Fontainebleau 
and Chateau de la Malmaison ; floral borders on 
gold ground. 


403—FINELY DECORATED PLATE. 


Medallion protrait of “Napoleon First”; rich 
green and gold border; pencilled gold band and 
medallion heads, 


404—FINELY DECORATED PORCELAIN PLATE, 


Medallion portrait of “ Josephine ” ; turquoise- 
blue and gold borders. 


405—FRENCH PORCELAIN PLATE. 
Decorated with medallion portrait of “ Napoleon 
First ” ; kings’ blue and pencilled gold border. 
406—THREE RICHLY DECORATED PORCELAIN PLATES, 
Medallion portraits of ‘“ Duchess de Montebello ” 
and other female celebrities; floral panels and 
emerald green glaze with embossed gold orna- 
mentations, 


407—SEVRES PORCELAIN PLATE, 


Medallion portrait of ‘‘ Roi de Rome,” painted 
by Tascult; kings’ blue and gold border with 
initial “N” in medallion. 


408—SEVRES PORCELAIN PLATE. 
Finely painted medallion portraits of “ Countess 
Murat,” by Maglin; kings’ blue and gold border. 
109 


409—Two FineLty DEecorATED PORCELAIN PLATES. 


Medallion portraits of “ Josephine ” and “ Marie 
Louise”; rich blue and gold borders with initial 
‘‘N ” in medallions. 


410—SEVRES PORCELAIN Bowt. 
Louis Philippe period ; rich kings’ blue glaze, 
with delicate gold bands. 


411—Pair RicHLyY DECORATED PORCELAIN VASES, 


Rose-pink glaze, with Cupids and floral designs 


in medallion. 
Height, 11 inches. 


412—SEVRES PORCELAIN TfTE-A-TETE SET. 


With tray ; eggshell texture, exquisitely painted ; 
decoration of pastoral subject. 


413—Pair RicHLY DECORATED SorT PASTE VASES. 
Tall ovoid shape, on pedestal ; medallion por- 
trait by Fritsch ; kings’ blue ground, with fleur-de- 
lis and other designs in gold; brass and gilt 
mountings and ornaments. 
Height, 20 inches. 


414—PairR MopERN Capo DI MONTE JARS, 


With covers. 
Height, 1034 inches, 


415—PORTUGUESE POTTERY PLAQUE, 


Splash glaze ; bold relief ornamentation of crabs 
in fish-net. 
Diameter, 11 inches. 


416—PORTUGUESE FAIENCE JARDINIERE, 


Splash glaze ; frogs modelled in bold relief and 
enamel, ; 
Height, 10 inches. 

IIo 


NO. 460. MEDAL STRUCK’: TO COMMEMORATE BYRON’S SERVICES TO THE CAUSE OF 
GREEK FREEDOM 


os 


Sees 
neeresett 


- 


- 


NO. 453. BYRON’S GOLD FILIGREE CARD CASE 


RELICS OF BYRON 
Copyright by Frank A. Munsey 


417—JAPANESE FalENCE GOURD-SHAPED VASE. 


Fine decoration of cherry blossoms in pink and 
white enamels and gold. 
Height, 14% inches. 


418—PairR FRENCH PORCELAIN FRUIT BASKETS, 


Openwork designs on pedestals ; gold decora- 
tion, 
419—WEDGWOOD BowL. 
Black biscuit ; incised basket pattern. 
420—WEDGWOOD TEAPOT, SUGAR BOWL, AND CREAM 
PITCHER. 


~ Pale-blue glaze with relief ornamentation in 
white. 


421I—PaiR WHITE AND GOLD FRUIT BASKETS, 
. Openwork design on pedestal. 


422—-WEDGWOOD PITCHER. 


Dark-blue glaze, with relief ornaments of classi- 
cal figures and festoon in white, 


423—ANTIQUE MAJOLICA VASE. 
- Decoration in deep blue, 


~ 


Height, 14 inches. - 


424—-ANTIQUE SPANISH MAJOLICA VASE. 


Decorated with hunting scenes and other de- 
signs in various colors; from an old Spanish 


settlement, New Orleans. ; 
Height, 13 inches. 


425——GERMAN STONEWARE TANKARD, 
Relief and enamelled ornamentation. 
III 


426—ANTIQUE MAJOLICA VASE. 4 


“ Curious decoration of figures, animals, and other 
designs, painted in various enamels; from an old 
Spanish settlement, New Orleans. 


Height, 13 inches, 


427—Patr FRENCH PORCELAIN VASES,” 
Figure and floral designs painted in finely com- 
bined colors; gilt brass mountings. 


Height, 12 inches. © 


428—OPAQUE PORCELAIN Bust, 
: Marie Antoinette. 


429—F AIENCE CASKET, 
Medallion decoration, painted in blue, 


430—JAPANESE FAIENCE GOURD-SHAPED VASE. 


Rich embossed decoration, dragon modelled in 
relief. 


Height, 19 inches. 
43I—JAPANESE FAIENCE GOURD-SHAPED VASE. 
Blue glaze, with dragon modelled in relief, and 
gilt. 
Height, 19 inches. 
432—-TELESCOPIC CANDLESTICK. 
Old Sheffield plate. 


433—BURNISHED Brass CANDLESTICK, 
Tall form. 


434—UNIQUE BOHEMIAN WINE GOBLET. 

With cover ; decorated in gold, enamelled minia- 
ture paintings and coat-of-arms ; from the collec- 
tion of Chevalier de Tavera, Envoy Extraordinary 
and Minister Plenipotentiary of Austria-Hungary. 

12 


NO. 459. MINIATURE OF BYRON, BY ALFRED CHALON 


Formerly owned by Sir Walter Scott | 


N, 452. FINGER RING, NO. 456. MINIATURE OF POPE, NO. 451. BYRON’S SCARF RING] 


A 


_miniature of Lady Byron by Boyt 


! PERSONAL RELICS OF LORD BYRON 


i| 


dpyright by Frank A. Munsey 


i 
; 


| 


ie  43s—AnTIQUE CrysTAL Gass VAsE. 
ia Richly cut, 


- 436—Pair SILVER Bronze Ficurgs, 
“The Duel,” by Eugéne Guillemin. 


437—PERSIAN VASE. 
Incised ornamentation. 


438—FINELY WROUGHT GILT BRONZE FicurE or DIANA. 


After Houdon’s celebrated statue, by E. Julien ; 
rose antique marble base. 


439—GiILT Bronze MINIATURE Bust. 
King of Rome; rose antique marble pedestal. 


440—GILT BRONZE INKSTAND, 
Bacchanalian design. 


441—SILVERED BRONZE BAS-RELIEF MEDALLION. 
Head, after Micheal Angelo, by Barbedienne. 


442—ANTIQUE ROMAN BRONZE BusT OF DANTE. 


443—Pair Lovis XVI. GILT BRONZE CANDLESTICKS, 
Tall shape. 


444—BRONZE Bas-RELIEF MEDALLION. 
Portrait of Kléber, by David. 


445—FINELY WROUGHT BRONZE DOUBLE CANDLESTICK. 
With screen, Louis XIV. 


446—Pair Louis XVI. Gitt Brass CANDLESTICKS, 
Tall form, repoussé chased ornamentation. 


447—BARYE BRONZE ORNAMENT, ‘“ DoE IN REPOSE.” 
Fine green patina, cast by Barbedienne. 
8 113 


448—BaARYE BRONZE, “ THE WALKING Lion,” 
Cast by Barbedienne. 


449—Pair ANTIQUE GILT BRass CANDLESTICKS. 


Tall column design ; repoussé chased ornamen- 
tation. 


450—Lovis XVI. DouBLE: CANDLESTICK. 


With movable screen; finely wrought gilt 
bronze. 


AUTHENTICATED PERSONAL RELICS OF 
LORD BYRON 


Acquired by Senhor de Mendonca at a sale of the collection owned by - 
Mr. Robert Francis Cooke, a former partner of John Murray, the 
poet’s publisher and intimate friend; sold by Messts. Sotheby, 
Wilkinson & Hodge, London, June 18, 1892. 


451—LARGE BLUE ENAMEL GOLD ScARF RING. 


Set with numerous pearls, containing hair and | 

initial “ A” in gold; “souvenir G. G. B.”—George 

' Gordon Byron—engraved on the inside ; present 
of his sister Augusta (Mrs. Leigh). 


452—A. GOLD RING. 


With enamelled miniature on fine gold of lady 
Byron; by H. Bone; marked inside “A. J. M.” 
(Miss Milbank). | : 


453—A MALTESE GOLD FILIGREE CARD CASE, 


Initial ‘““B’’ engraved on one side, and Byron’s 
coronet on the other side. 


II4 


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a 
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i A Ml = 
oe Aaa Se 


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May es ee a 

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esas 


WET, 


Ol Sawa 


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Ul iS w si Yi Re ma A ies a 
~M Seis aA XK 


en cae yee Wy 


; Gil hi? | =f 
he ty 7s G ‘ sills Te 
: : \ Mics sisal fe On) Nisin 


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hi 


RNA AY ALUCARD 


Alia il = 


—-s5 
_ 


Copyright by Frank A. Munsey, 
NO. 457. BYRON’S CLOCK 


454—AN ENGRAVED GOLD BODKIN CASE. 
“B” and coronet engraved underneath. 


455—A WALNUT SHELL, 


Mounted with gold, containing two minute glass. 
bottles and gold funnel for otto of roses. Marked 
on the bottles, “ B.’”’ —‘“N.” for Noel, and on the 
rim of the lid, “Souvenir, Madame Hoppner, 
Wife of the Famous English Artist.” 


456—ENAMEL MINIATURE OF ALEXANDER POPE. 
By Boyt ; in original shagreen case. 


457—A Louis XVI. OrmoLU CLOCK. 


Supported by male and female figures of musi- 
cians, on an oblong plinth decorated with a frieze 
of children, festoons and musical instruments, 


458—Pair BRONZE CANDLESTICKS, 
The stems supported by groups of three dogs. 


459—A MINIATURE OF BYRON. 


Painted on ivory by Alfred Chalon, and pre- 
sented to Sir Walter Scott by Charles Leslie, the 
royal academician. It hung in the office of Scott’s 
printing-house in Edinburgh until the novelist’s 
death, when it was sold for the benefit of the firm’s 
creditors. Its present owner acquired it about 
sixteen years ago, at a sale of some of the ‘effects 
of Fitzgreen Halleck which had passed into the 
possession of one of the New York poet’s relatives. 
This lady told Senhor de Mendonca that the min- 
iature had been given to Halleck by Washington 
Irving, to whom it was presented by William D. 
Ticknor, of Boston. 


IT5 


460—BRONZE MEDAL. 


Struck to commemorate Byron's services to the 
cause of Greek freedom; on one side it bears 
Byron’s profile, with a simple inscription, “ Byron,” 
in Greek letters ; on the obverse a young and vig- 
orous bay-tree flourishes unharmed by the forked 
lightning, which flashes from low-hung clouds; 
underneath is the inscription, ‘“ Aphthiton Aiei,”— 
““Imperishable forever” ; around the rim are four 
names: F. Pikering, F. Foroingtontos, Kaoierosis, 
A. I. Stewart. 


461—FoLio CONTAINING THE ORIGINAL WILL OF LORD 
Byron, AUTOGRAPH LETTER, AND OTHER MANU- 
SCRIPT. 


462—Bo0K MADE UP OF SKETCHES, POEMS, AND PAPERS 
IN LorD Byron’s POSSESSION. 


Obtained from a member of the Sheridan 
family by Senhor de Mendonca. 

“Tt was made up of remnants, sketches, poems, 
and papers in Lord Byron’s possession and found 
among his effects, which were gathered together 
and formed into asouvenir album by W, A. Craw- 
ford. Crawford dedicated and presented the 
book to the three daughters of Richard Brinsley 
Sheridan, who were once owners of Byron’s will. 
It consists of between four and five hundred 
pages. Here are paintings, letters, sketches and 
hundreds of documents in some way connected 
with Byron. Many of them are by well-known 
artists of the early part of the century. 

“The book contains a number of exquisite pencil 
sketches by the artist Charles Linsell, a fine head 
of Christ by Benjamin West, and two small oil 
paintings by Wouverman, The pictures are inter- 
spersed with original poems and notes of Byron’s 

116 


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poy ennwuys.coyp prus prays gaits emp poring y puny hus yop wifys 
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pennryys geatgap toy hucap y lpne coy y sisi op pie sposerifapiay resty hare 
fe ote fy 22 wap rerecnyp iyi Upstate on? hig0u by? of, poporpaovel, pefsesw sazonay ye 
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HLNOA V SV NOUWAG AO LIVALAOd TIONAd HOVTIAAOT AO SSHINNOD SGUVMUALAV ‘YALHDAVA SNOUAL ‘VaV 


travels. There is also a pencil portrait of Byron’s 
daughter, Augusta Ada, afterwards Countess of 
Lovelace, which is accompanied by a poem ‘ To 
Ada.’ 

“The sketch of the Hellespont, showing where 
Byron swam across, is also by Linsell. It is 
accompanied by a written memorandum : 


“THE HELLESPONT.—SESTOS AND ABYDOS. 


_ “** Leander swam both ways, and Lord Byron only from Europe to Asia, his 
object being only to ascertain that the Hellespont could be crossed at all by 
swimming. In that, heand Mr. Ekenhead succeeded—the one in an hour and 
five minutes, and the other in an hour and ten minutes, and the tide not in their 
favor, but the contrary. It is not practicable from the Asiatic shore—the swim- 
mers must be obliged to make the real passage of one mile extend to three 
or four, owing to the force of the current. Any young man in tolerable 
health might succeed init from either side. Lord Byron was three hours in 
crossing the Tagus, which is much more than hazardous. In crossing the 
Hellespont, he started from the little cape above Sestos and landed a little below 
the frigate ‘‘ laying to’’ under the Asiatic. castle. The pencil view comprehends 
the space crossed by Lord Byron, and also by Leander. The view of Sestos and 

Abydos is in the distance.’ ” 


_ OBJECTS OF NAPOLEONIC PERIOD AND PER- 
SONAL RELICS OF NAPOLEON THE FIRST 


463—Coronet Init1aL “N” anpd ReEpoussE Brass 
ORNAMENT. 


Mounted on velvet panel. 


464—EMPIRE INKSTAND. 
Wrought in brass; eagle surmounting cover. 


465—-Brass BAS-RELIEF MEDALLION. 
General Bonaparte ; signed, David, 1831. 


466—Pair SMALL TAZZAS. 
_ Bronze and gilt ; First Empire. 
lIg 


467—EMPIRE VASE. 


Porcelain decorated in gold and colored en- 
amels, 
Height, 12 inches, 


468—First EMPIRE GILT CLOCK. 


Surmounted by figure of Cupid ; bas-relief and 
ornaments of classical figures and festoons. 


469—PaIR BRONZE AND GILT VASES. 
Amphora shape, with mask and scroll handles. 
Height, 13% inches. 


470—NAPOLEON IRON PLAQUE. 


With medallion portrait ; emblems and festoons 
in relief ; from the collection of George Moreau, 
Canada. 


471I—STATUETTE OF NAPOLEON ON COLUMN PEDESTAL. 
In green bronze, with gilt ornamentation. 


Height, 12 inches. 


472—-PAIR GREEN BRONZE URNS. 
Mounted on Sienna marble pedestals, orna- 
mented with the imperial wreath on four sides, 


Height, 11% inches. 


473—HANDSOME BRONZE AND GILT NAPOLEON INK- 
STAND, 


Elaborate design ; equestrian figure of Napo- 
leon in green bronze; marble plinth; eagles at cor- 
ners ; relief ornaments, festoons of laurel leaves. 


Height, 13 inches; length, 18 inches, 


474—EMPIRE CANDLESTICK. 
In gilt bronze. 
120 


Copyright by Frank A. Munsey 


PENCIL SKETCH OF THE HELLESPONT AT THE POINT WHERE BYRON SWAM ACROSS IT 


No. 462 on Catalogue 


From Byron Album. 


475—LARGE BRONZE STATUETTE OF NAPOLEON. 


On marble pedestal with gilt ornament; im- 
perial eagle and implements of war. 


Height, 19 inches. 


476—EMPIRE PORCELAIN INKSTAND. 
In form of bedstead supported by four swans ; 
enamelled gold and floral decoration ; a unique 
piece, said to have belongedto Empress Josephine, 


477—EMPIRE CLOCK. 
By C. de Touche; gilt bronze, surmounted by 
equestrian figure of Napoleon I., inscribed ‘“‘ Hon- 


neur au courage malheurex Capitulation d’Ulm, - 
1805,” 


478—PaiIR EMPIRE CANDELABRA. 


Green bronze and gilt, with rose antique marble 
pedestal ; six lights each, 


479—SWORD OF AN OFFICIAL OF THE First EMPIRE. 
Silver and mother-of-pearl handle. 


480—SwWORD OF AN OFFICER OF THE First EMPIRE, 


Mother-of-pearl and gilt bronze handle, eagle 
hilt, 


481—SoOFT PasTE PORCELAIN VASE. 


Grecian shape; decorated with miniature por- 
traits of “Napoleon” and “ Josephine”; relief and 
pencilled gold bands and ornaments; gilt bronze 


plinth. 
Height, 17 inches. 


I2I 


482—PairR LARGE PORCELAIN VASES. 


Square portaments, emerald-green sro with 
four superb First Empire ormolu mounts ; on the 
body of each vase two fine hand-painted portraits 
by Maglin—Napoleon and Josephine on one, and 
King of Rome and Empress Marie Louise on the 
other; in the upper part of each vase four hand- 
painted miniatures—on one, Queen Hortense, 
Elisa Bonaparte, Caroline Murat, and Pauline 
Bonaparte; on the other, Madame Récamier, 
Eugénie Bonaparte, Duchesse de Montebello, and 
Duchesse d’Abrantes; the vases are also deco- 
rated with the Imperial Crown and “ N” in bur- 
nished gold. 


483—NaAPOLEON THREE-LIGHT CANDELABRA, 


Such as he used on his writing desk at the 
Chateau of St. Cloud; the shade is new, the 
original being destroyed; a fine specimen of 
chased gilt bronze of the First Empire. 


484—Pair First EMpirE TALL CANDELABRA. 


Gilt bronze, with green bronze figure supports ; 


five lights each. 
Height, 8 inches. 


485—Louis XIV. Watt CLock. 


Finely wrought; gilt bronze mountings and 
ornaments ; statuette of Vulcan surmounting top ; 
from the Hamilton Palace sale. 


486—FINE ENGLISH CLOCK. 


By Elliot ; with Westminster bells and other 
chimes ; antique oak case, with gilt ornaments. 


487—Louis XIV. CLocx. 
Enamelled and gilt; lyre design, by Causard, 
Paris. 
I22 


‘ 
F 
5 
“4 
. 


Dy Acti os a 


488—Pair Louis XV. BRONZE CANDELABRA. 
Five lights each. 


489—ELEGANT FRENCH PORCELAIN J ARDINIERE. 

Finely painted decoration of pastoral subjects, 
after Watteau, and landscape views of medal- 
lions; embossed gold and enamelled ornamen- 
tation; gilt bronze plinth and mountings. 


Height, 17 inches; width, 23 inches. 


490—PaiR ELEGANT VASES. 


To match the foregoing. 
Height, 28 inches. 


491—RicHLy DrecoraTeD Louis XVI. JARDINIERE, 
Oval shape on tall pedestal; finely painted 
pastoral and landscape decoration ; kings’ blue 
glaze and embossed border; gilt bronze plinth 
and mountings. 
Height, 21 inches; length, 22 inches. 


492—Pair ELEGANT LARGE COVERED VASES, 


To match the foregoing. 
Height, 35 inches. 


493—RARE BRONZE Bust. 

By Rude ; head of the principal figure of the me- 
dallion (Chant du départ) at the right of the front of 
the Arc de Triomphe in Paris. Purchased in Paris 
by Mr. Mendonca. This is one of the three 
artist’s proofs taken by Rude himself from the 
original mould, at the request of Louis Philippe. 


Of extreme rarity. 
Height, 25 inches. 


494—SIENNA MARBLE PEDESTAL. 
With chiselled gilt bronze mountings for the 
foregoing. 
123 


495—ANTIQUE BAVARIAN PEWTER SACRAMENT JAR. 


Hexagon shape, with screw top, profusely en- 
graved, dated 1683; from Chevalier De Tavera 
collection. 


496—PaiRk BRONZE STATUETTES. 
Roman warriors, 
Height, 19 inches. 
497—HANDSOME Bronze Bust, “THE VILLAGE BRIDE.” 


By E. Laurent ; from the collection of George 
Moreau, Canada. 


Height, 23 inches. 
498—PaIR BRONZE VASES. 
On marble pedestals, figures in low relief. 
Height, 18% inches. 


499—BRONZE FIGURE. 


“Laurent De Medicis,’ Il penseroso, by 
Michael-Angelo, reproduction by Barbedienne. 


Height, 24 inches. 


500—HANDSOME BRONZE FIGURE, “ THE BATHER.” 


By Falconnet. 
Height, 34 inches. 


501—FirstT EMPIRE ORMOLU JARDINIERE. 


Swan-head supports, leaf design and other orna- 
mentation. 


502—PaIR LARGE ALTAR CANDLESTICKS, 
Tall, slender shape ; repoussé brass, silver finish. 


Height, 74 inches. 


503—PAIR PORTUGUESE FAIENCE JARS. 


Splash glaze; branches of fruit modelled in 
bold relief. 


124 


504—ITALIAN MajouicaA LARGE PLAQUE. 


Profusely decorated, after the antique; from 
the collection of Chevalier de Tavera. 


Diameter, 21 inches. 


505—PORTUGUESE POTTERY LARGE VASE. 


Ovoid shaped; dark-blue splash glaze with 
crayfish, modelled in bold relief, by Bordalo 


Pinheiro. 
Height, 23 inches. 


506—PaIR LARGE FAIENCE JARs. 
With cover, decorated in blue. 
Height, 24 inches. 


507—Louis XVI. GILT Brass Piano Lamp. 


508—Pair Hanpsome Louis XV. GILT ToRCHES, 
Tall form, nineteen lights each. 


126 


THIRD AND LAST AFTERNOON’S 
Sikes ew be 


WEDNESDAY, APRIL 26TH 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 3 O'CLOCK 


ANTIQUE FURNITURE 


OF THE LOUIS XVI., EMPIRE, AND RENAISSANCE 
PERIODS, FRENCH, ITALIAN, ENGLISH, AND 
PORTUGUESE 


509—MAHOGANY BRIC-A-BRAC PEDESTAL. 
510—MAHOGANY BRIC-A-BRAC TABLE, 
511—ManoGany LIGHT STAND. 
512—MAHOGANY CHIPPENDALE PARLOR TABLE. 


513—MapLe RECEPTION ROOM SETTEE. 
Upholstered in old gold damask. 


514—Oak CABINET. 
Glass front and sides. 
126 


515—CARVED Oak CABINET. 
Glass front and sides. 


516—Music TABLE. 
In carved satin-wood. 


517—Two MAHOGANY CHIPPENDALE CHAIRS, 


Upholstered in tapestry, being part of set used 
by Lafayette whilst in this country. 


518—MAHOGANY CHIPPENDALE CHAIR, 
Upholstered in figured tapestry. 


519—EBONY AND ORMOLU PEDESTAL, 


520—COLONIAL GILT MIRROR, 
Eagle decoration. 


521—GILT PEDESTAL. 


522—RICHLY-CARVED MAHOGANY SOFA. 
Upholstered in tapestry. 


523—ARMCHAIR. 
To match the foregoing. 


524—SIDECHAIR. 
To match the foregoing. 


525—WHITE AND GOLD PEDESTAL. 


526—CARVED GOLD PEDESTAL. 


With boldly carved heads of cherubs and roses; 
Louis XVI. period; from the collection of Le 
Metayer de Guy. 


527—CARVED TEAKWOOD SCREEN. 
Embroidered in silk. 
127 


528—VERNIS MARTIN TABLE. 


With drawers; decorated with figures and 
flowers. 


529—CARVED GILT PEDESTAL, 


530—GiILT LIGHT STAND. 
With figure of flower girl. 


53I—MAHOGANY SOFA. 


Carved lion head; claw feet; upholstered in 
embroidered plush. 


532—COLONIAL CHEST. 


With heavy brass handles and fine lock; im- 
ported from England in the middle of last cen- 
tury ; purchased in Virginia by Mr, Mendonca. 


533—-CARVED MAHOGANY PEDESTAL, 
Claw feet ; spiral column. 


534—CoMPANION. 


535—MAHOGANY EMPIRE EASEL. 
Rich, chased ormolu mounts ; reproduction. 


536—Esony DressInGc TABLE, _ 
With Sévres plaques of cupids, flowers, and 
Watteau subjects, by E. Lillier, in ormolu mounts. 
44 inches wide, 16 inches deep, 65 inches high. 


537—MAHOGANY RECEPTION ROOM SUITE. 


Settee, arm, and side chairs inlaid with satin wood, 
upholstered in salmon-colored satin tapestry. 
128 


538—MAHOGANY CORNER CABINET. 


Satin-wood inlaid, swell glass doors and bevel- 
plate backs. 


35 inches wide, 16 inches deep, 78 inches high. 


539—DutTcH HALL CLOockK. 


Marquetry case with brass mounts ; movement 
by I. P. Krose, Amsterdam; shows days of 
month and phases of the moon. 

8 feet 8 inches high. 


540—Esony AND BuHL CABINET. 


With tortoise-shell and brass inlaid flowers, 
scrolls, and cupids, and ormolu lyres on sides, 
acanthus leaf moulding on frieze. 


30 inches wide, 12 inches deep, 41 inches high. 


541—ITALIAN SWELL FRONT BUREAU. 


Inlaid with tulip, French walnut, and other 
woods; ormolu handles. 
54 inches wide, 26 inches deep, 37 inches high. 


542—ANTIQUE FLORENTINE CARVED Woop GILT MIRROR. 


Bevel plate. 
44 inches wide, 67 inches high. 


543—LarGE Woop CaRVING OF ROMAN WaRRIOR. 
From the collection of Le Metayer de Guy. 


544—LarGE Woop CarVING, DIANA. 


These two carvings are of the period of Henry 
II., and were removed from a castle in Belgium ; 
from the collection of Le Metayer de Guy.. 


545—MAHOGANY AND TULIP-WOOD SECRETARY. 
Watteau. decoration in Vernis Martin and 
ormolu mounts, with marble top. 
22 inches wide, 16% inches deep, 54 inches high. 
9 129 


546—MAHOGANY ARMCHAIR. 
Upholstered in antique tapestry. 


547—OLD GERMAN HALL CLOCK OF THE Last CEN- 
TURY. | 


Carved maple-wood case, movement by G. 
Flottman, of Berlin; shows days of month and 


phases of the moon. 
7 feet, 4 inches high. 


548—Lovuis XV. SuITE. 


Comprising couch and two armchairs; richly 
carved gilt frame; upholstered in turquoise-blue 
satin damask. 


549—Lovuis XIV. CABINET. 


In tulip-wood ; marquetry inlay, with swell front 
glass doors and sides ; ormolu mounts. 


550—MAHOGANY AND GILT Louis XV. TRIPOD PEDEs- 
TAL, 


With ormolu mounts. 


551—Lovis XVI. SuPERB DRAWING-ROOM SUITE, 


White and gold carved wood frame, uphol- 
stered in Louis XVI. pattern of green satin with © 
design of doves and wreaths of flowers ; the suite 
is composed of four arm and two side chairs ; 

- from the collection of Le Metayer de Guy. 


552—FRENCH BLACK CONSOLE. 


Ornamented with inlaid bronzes and bronze 
medallions. Last century piece. From the 
furniture of the French Legation at Washington, 
1870. | 

56 inches wide, 16 inches deep, 44 inches high. 
130 


553—ManoGany Louis XIV, CaBINET. 


With glass swell front and sides, mirror back, 
caryatides, festoons, and cupids in ormolu on front 
and columns entwined with flowers. 


43 inches wide, 17 inches deep, 72 inches high. 


554—ARMCHAIR OF THE DIRECTORY PERIOD. 


Wide back, formed by bow finished by two 
eagle heads. Arm supported by eagle claws in 
white and gold carved wood; cushions uphol- 
stered in green and white damask of the same 
period. 


555—CoMPANION, 

These armchairs were formerly in the festival 
hall of the Borghese Palace in Rome at the time 
it belonged to Pauline Bonaparte. Collection of 
Le Metayer de Guy. 


556—LovIs XV. CONSOLE WASHSTAND. 

Richly ornamented, with gilt bronze and Sévres 
medallions. From the furniture of the French 
Legation at Washington in 1870, during the time 
of M. Prevost Paradol. 


44 inches wide, 24 inches deep, 41 inches high. 


-557—Lovuis XV. WARDROBE. 

Richly ornamented with gilt bronze and Sévres 
medallions. Companion piece to the above. From 
the furniture of the French Legation at Wash- 
ington in 1870, during the time of M. Prevost 
Paradol. 

46 inches wide, 20 inches deep, 92 inches high. 
131 


558—Manocany Louis XVI. CuHarr. 


Of the transition period to the Directoire. The 
original frame and cushion upholstered anew. 
Purchased by Mr. Mendonca in 1884 at Clermont- 
Ferrand. 


559—COMPANION TO THE FOREGOING, 


560>—MauHocany Louis XIV. SECRETARY. 


With ormolu mounts, very elaborate scroll of 
leaves, fruit, and flowers in panel on ends. Cupid’s 
quiver and Hymen’s torch with scroll, fruit, leaves, 
and flowers in panel on back. Trophies of flowers, 
leaves, and ribbons in small panels on back. 
Wreath of bay leaves and scroll in small panels on 
sides. Legs finished with elaborately moulded 
mounts, Panel of drawers in front, flowers and 
ribbon mounts. Large panel in front, finely 
chiselled vase, flowers and scroll, with front corners 
of acanthus leaves surmounted by candelabra. 


52 inches wide, 33 inches deep, 51 inches high. 


561—OLD AND RARE GERMAN HALL CLOCK, 
Richly inlaid French walnut case surmounted 
by gilt figures of Atlas and cupids ; movement by 
Jan Breukelaar of Amsterdam; strikes quarter 
and half hours with repeater ; shows day of month 
and phases of the moon; from the Street col- 
lection. 


562—MaHoGANy GLaAss FRONT CABINET. 


Vernis Martin panels of Watteau subjects, with 
rich ormolu mounts of festoons of bay leaves and 
scroll. 


40 inches wide, 16 inches deep, 62 inches high. 


563—MAHOGANY EMPIRE PEDESTAL TABLE, 
Ormolu mounts. 
132 


564—MAHOGANY EMPIRE LIBRARY ARMCHAIR, 
Leather seat with ormolu mounts. 


565—MAHOGANY EMPIRE SOFA, 


With rich ormolu mounts of rosette stars and 
scroll work, upholstered in crimson satin. 


566—NAPOLEON PEDESTAL. 


Carved and gilt legs in form of chimera; from 
the collection of Le Metayer de Guy, 


567—MAHOGANY EMPIRE CABINET. 
Glass doors and sides, ormolu mounts of figures 
and scroll. 


42 inches wide, 19 inches deep, 61 inches high. 


568—Four First EMPIRE CHAIRS. 


Original frames; gilt and upholstered anew in 
old gold satin. 


569—SQUARE FoRM MAHOGANY EMPIRE CABINET PED- 
ESTAL, 
Ormolu mounts ; reproduction. 


570—FIRST EMPIRE SCREEN. 


In mahogany and chased ormolu ; red silk tap- 
estry, with the imperial bees in gold design ; from 
the collection of the Comtesse de Molenes. 


57I—MaHoGANyY EMPIRE SUITE. 
Sofa, two armchairs, in crimson mohair plush ; 
ormolu mounts, 
133 


572—MERIDIENNE SOFA, 


In mahogany and chased ormolu ornaments ; 
the covering in red silk, with gold wreaths and 
lyre design ; said to have belonged to Mme. Ré- 
camier ; a very unique specimen of First Empire 
furniture ; from the collection of the Comtesse de 
Molenes. 


573—ManoGANy EMPIRE FIRE SCREEN OF TAPESTRY. 
Heads of boys; rosettes and flowers in ormolu. 


574—FivE First EMPIRE CHAIRS. 


In mahogany and chased ormolu figure and 
ornaments; cushions in red silk, with imperial 
gold wreath design ; from the First Empire collec- 
tion of the Comtesse de Molenes. 


575—Manocany EMPIRE ARMCHAIR. 
In crimson plush, with ormolu mounts. 


576—MaHoGANy EMPIRE RouND CoLUMN PEDESTAL. 
Ormolu mounts ; reproduction. 


577—MaAHOGANY AND CARVED GILT EMPIRE ARMCHAIR. 
Upholstered in crimson plush. 


578—MASSIVE CARVED MAHOGANY FIRST EMPIRE CHAIR. 
Legs and arms boldly carved griffins, back sur- 
mounted by balls with star; ormolu mounts, 
caps, classic heads, and scroll-work; upholstered 
in crimson silk plush embroidered with bees and 
scroll. 


579—ManoGany First EMPIRE SECRETARY. 
With marble top and ormolu mounts; mirror 
and columns inside ; purchased in Paris. 
134 


580—MAHOGANY EmpIRE CONSOLE. 


Marble top, with square pillar legs and centre 
shelf; wreaths, rosettes, ribbon, and flower ormolu 
mounts. This piece bears the French government 
mark, ‘“ Palais de Trianon, Inventaire, 1855, No. 
2,591." Also bears twice the marks, “G. T. and 
T., 6,795.” A genuine piece of furniture having 
belonged to Napoleon I.; from the collection of 
Le Metayer de Guy. 


581—Two MAHOGANY SIDECHAIRS, 


Round backs, ornamented with finely chiselled 
ormolu mounts ; seats in cherry satin, with gold 
wreaths ; from the collection of Le Metayer de 
Guy. 


582—MAHOGANY EMPIRE PEDESTAL TABLE, 


Egyptian marble top; ormolu mounts of ro- 
settes, leaves, and flowers ; from the collection of 
Le Metayer de Guy. 


583—MAHOGANY First EMPIRE CENTRE TABLE, 
Rich ormolu mounts and gilt carved feet. 


584—EMPIRE SIDE TABLE, 


Signed by Jacob, cabinet-maker to Napoleon I.; 
rich ormolu mounts; from the collection of Le 
Metayer de Guy. 


42 inches wide, 19 inches deep, 36 inches high. 


585—MAHOGANY EMPIRE SIDECHAIR. 


Upholstered in Gobelin tapestry; ormolu mounts 
of lyre flowers and rosettes. 


586—MAHOGANY EMPIRE SIDECHAIR, 
Similar to the foregoing. 
135 


587—MAHOGANY EMPIRE SIDECHAIR, 
Similar to the foregoing. 


588—EMPIRE CONSOLE, 


In carved gilt wood, guaranteed by the French 
Government to have come from the grand 
salon of the Chateau des Tuileries; bears the 
following official marks : ‘‘ Chateau des Tuileries, 
1829, No. 9,020’’; also, “ Mobilier de Monsieur 
le Duc de Frioul, Inventory, No. 54”’ ; this console 
was made for Napoleon I. by Jacob and is 
signed ; in 1815 Louis XVIII. had it placed in 
the drawing-room of the Duchesse d’Angouléme 
in the Tuileries ; from the collection of Le Me- 
tayer de Guy. 


589—MAHOGANY SECOND EMPIRE BEDSTEAD. 
Finely carved heads and claw feet on posts of 
foot-board. Rich ormolu mounts of chariot race, 
masks, and scrolls. 


590—MAaAHOGANY SECOND EMPIRE BUREAU. 


Marble top, with terminal female figures, ring 
handles, grotesque head, and claw feet in ormolu. 


52 inches wide, 25 inches deep, 34 inches high. 


591—MAHOGANY SECOND EMPIRE WARDROBE. 

With rich ormolu mounts, classic figures, wreaths 
of bay leaves, ribbons, and flowers in diamond- 
shaped panels on sides ; rosettes and scroll-work 
on frieze; torch of Hymen and scrolls on pilas- 
ters ; rosettes and scrolls on base ; classic figures 
and stars on doors. 


62 inches wide, 18 inches deep, 104 inches high. 
136 


592—MAHOGANY SECOND EMPIRE DRESSING TABLE, 


French plate mirror, ormolu mounts of rosette 
and scroll. 


593—MaHoGANY SECOND EMPIRE CHEVAL GLASS. 
Ormolu mounts, mask, flowers, and scroll-work. 


36 inches wide, 18 inches deep, 75 inches high. 


594—-MAHOGANY SECOND EMPIRE COMMODE. 


With ormolu mounts; lyre and leaves on side 
and front panels; two female terminal heads; 
females, flowers and serpents on frieze; rosettes 
and leaves on base. 


595—MAHOGANY SECOND EMPIRE BOOKCASE, 


With glass doors, medallion bas-relief of classic 
heads enclosed by wreaths of bay leaves; stars 
and flowers on sides; star wreaths and griffins on 
frieze; rosettes and intertwined wreaths on base; 
finely modelled classic figures on lower panels of 
doors; star rosettes and classic heads on stiles 
and rails in ormolu. 


55 inches wide, 20 inches deep, 89 inches high. 


596—-MAHOGANY SECOND EMPIRE BOOKCASE. 


With glass doors, rich ormolu mounts, classic 
head in wreath, flowers, and stars on sides; grif- 
fins, stars and scroll-work on frieze; entwining 
wreaths, rosette, and scroll-work on plinth; classic 
heads, stars, rosettes, and wreaths with figures in 
panels on doors. 


56 inches wide, 21 inches deep, 7 feet 6 inches high. 
137 


597—MAHOGANY SECOND EMPIRE LIBRARY TABLE. 
With drawers; carved head and claw legs; rich 
ormolu mounts of masks, griffins, leaves, and 
flowers. 


5983 —MAHOGANY SECOND EMPIRE RouND BAcK LIBRARY 
ARMCHAIR. 


With carved heads; claw feet, with rich ormolu 
mounts of stars and leaves on front; elaborate 
scroll curled endive, lyre and flowers, stars and 
rosettes on back ; seat in crimson plush embroid- 
ered with Imperial bees. These two pieces after 
the burning of the Tuileries during the Commune 
were found and recognized at the Faubourg St. 
Antoine by the maker, who had seen them placed 
in the private cabinet of Napoleon III. in that 
palace, and shipped them to Holland. 


599—MAHOGANY SECOND EMPIRE ARMCHAIR, 


Upholstered in blue silk plush embroidered with 
bees and scroll ; classic figures, rosettes, and flowers 
in ormolu. 


600—MAHOGANY SECOND EMPIRE ARMCHAIR. 


Gold and ormolu mounts of mask, rosette, and 
flowers ; upholstered in blue silk plush, embroid- 
ered with bees and scroll. 


601—RI1cH MAHOGANY FIRST EMPIRE BEDSTEAD. 


Posts of head surmounted by finely chiselled fe- 
male heads; bust of emperor, with wreath of bay 
leaves, enclosed in frame of fret-work ; butterfly, 
ribbon, and wreath of flowers on headboard ; post 
of foot surmounted by ball, with stars, rosettes, 
and flowers ; panel, with grotesque mask enclosed 
in wreaths, and floral decoration in ormolu. 


602—COMPANION TO THE FOREGOING. 
138 


603—MAHOGANY First EMPIRE BUREAU. 


Marble top, with terminal female figures ; ring 
handles ; grotesque head and claw feet in ormolu. 


52 inches wide, 24 inches deep, 35 inches high. 


604—MAHOGANY First EMPIRE MARBLE-TOP COMMODE. 


Ormolu mounts of leaves, stars, urns, altar, 
cupids. 


605—MAHOGANY First EMPIRE CHIFFONIER, 


Richly mounted in ormolu; female terminal 
figures, Cupids and scrolls on front; Hymen’s 
torch, ribbon, and wreath on sides. 


37 inches wide, 18 inches deep, 63 inches high. 


606—MAHOGANY First EMPIRE BOOKCASE. 


Glass doors surmounted by superbly carved 
scroll ; tigers drinking at fountain and rosettes on 
frieze; terminal figures of females in Egyptian 
headdress ; female figures in panels on sides in 
ormolu. 


50 inches wide, 15 inches deep, 7 feet 9 inches high. 


607—MaAHOGANY First EMPIRE CHEVAL GLASS, 


Ormolu mounts of Diana in pediment, scroll- 
work frieze; female figures on sides; carved 
claw-feet. 


42 inches wide, 14 inches deep, 6 feet 9 inches high. 


608—First EMPIRE PIANO, 


The harp was made by F. B. Voigt of Berlin, 
and the case in Paris in 1808, by order of Napoleon 
I., who presented the instrument to a lady in Aus- 
tria ; purchased at private sale by Mr. Mendonca. 


609—MAHOGANY PIANO STOOL, 
Richly carved in shape of shell. 
139 


610—Louis XVI. SOFA. 


Frame with original gilt, and upholstered in 
original Gobelin tapestry representing subjects of 
fables of La Fontaine and compositions by Wat- 
teau. | 


611—ARMCHAIR, . 
To match the foregoing. 


612—ANOTHER. 
To match the foregoing. 


613—ANOTHER. 
To match the foregoing. 


614—ANOTHER. 
To match the foregoing. 


615—ANOTHER. 
To match the foregoing. 


616—ANOTHER. 
To match the foregoing. 


617—ENGLISH CARVED Oak SIDECHAIR. 


With figures, crown, and swords; from the 
Street collection. 


618—ENGLISH CARVED OAK SIDECHAIR. 
From the Street collection. 


619—ANTIQUE CARVED Oak ENGLISH HALL CLOCK. 
With inscription “Tempus Fugit”; movement 
by Wheelhouse of Shefheld ; from the Street col- 


lection, 
8 feet high, 


140 


620—ENGLISH CARVED Oak DRESSING TABLE. 


With three drawers; from the Street collec- 
tion. 


621—ENGLISH CARVED OAK BEDROOM TABLE. 
Rare old piece; from the Street collection. 


622—ENGLISH CARVED OAK SIDE TABLE, 
With drawer ; from the Street collection. 


623—RICHLY CARVED ENGLISH ALTAR CHAIR. 


With canopy top, Spanish leather seat; from 
the Street collection. 


624—RICHLY CARVED ENGLISH OAK ARMCHAIR. 
Plush seat. 


625—ENGLIsH CARVED OAK BRIDAL CHEST. 


With drawers ; panel with head, bird, and scroll 
ornaments on front; armorial bearings on top; 
from the Street collection. 

46 inches wide, I9 inches deep, 32 inches high. 


626—ENGLISH CARVED OAK CORNER CABINET. 
From the Street collection. 


627—ENGLISH CARVED Oak DEsK, 


With four drawers, rare old piece; from the 
Street collection. 


628—Two RICHLY CARVED CAVENDISH CHAIRS. 


In tapestry, with the motto “ Cavendo tutus ” 
and the arms of the Cavendish family ; from the 
Street collection. 


629—Two ANTIQUE ENGLISH OAK SIDECHAIRS. 


Very rare specimens; from the Street collec- 
tion. 
14t 


630—Two ENGLISH CARVED OAK SIDECHAIRS. 


Figures carved in back; from the Street collec- 
tion, 


631—ENGLISH CARVED OAK SETTLE, 
From the Street collection. 


632—CARVED OAK OvAL TURN-UP TABLE, 


Richly carved legs and base ; arms of the Car- 
negie family on top. 


633—OLD ENGLISH SETTLE. 


Panel back box-seat with inscription, “‘ Me and 
my house shall serve the Lord ”’; from the Ham- 
ilton Palace sale. 


634—ENGLISH CARVED OAK JEWEL CHEST. 
From the Street collection. 


635—ENGLISH CARVED OAK BUREAU. 
With brass mounts. From the Street collection. 


39 inches wide, 25 inches deep, 36 inches high. 


636—FINE CARVED OAK ENGLISH BRIDAL CHEST. 
With drawers; quatrefoil and armorial carved 
panels on top; panels in front and on top richly 
carved with heads and landscape ; originally in a 
chapel at Oxford; from the Street collection. 


64 inches wide, 22 inches deep, 31 inches high. 


637—FInE OLD LEATHER SEAT AND BACK ARMCHAIR, 
Carved feet and arms, and heavily studded 
with brass-head nails; this rare piece was made 
in Portugal in 1640; some of the nails are new; 
from Senhor Souza Rosa’s sale. 
142 


638—ANTIQUE PORTUGUESE RENAISSANCE CONSOLE. 
With two drawers; from Senhor Souza Rosa’s 
sale. 


_ 639—BEAUTIFUL AND MassIvE LipraRy OR WRITING 
TABLE. 

Made of Brazilian “ pau sancto”’ (holy wood) ; 
eight drawers; handsomely twisted cross-pieces 
and uprights, brass mounted ; a rare and elegant 
piece of Portuguese Renaissance, for two centu- 
ries and a half in possession of the Portuguese 
minister’s family ; purchased in 1894, at the sale 
of Senhor Souza Rosa, Portuguese Minister at 
Washington, 


640—ANTIQUE PORTUGUESE RENAISSANCE CONSOLE. 
With drawers and top of rose marble of Portu- 
gal; this rare piece was also in the possession of 
the family of the minister for more than two cen- 
turies ; from Senhor Souza Rosa’s sale. 


641—CARVED VENETIAN BRIDAL CHEST. 

In oak; front and ends richly carved; a rare 
specimen of early XVII. century work ; from the 
collection of Chevalier de Tavera, Envoy Extraor- 
dinary and Minister Plenipotentiary of Austria- 
Hungary. 


70 inches wide, 20 inches deep, 30 inches high. 


642—CARVED Oak ITALIAN CABINET CHEST, 

With drawers; doors carved figures, crusaders, 
and warriors in panels; rosettes and scroll on 
drawers; front has been restored; from the 
Chevalier de Tavera collection. 

65 inches wide, 20% inches deep, 34 inches high. 
143 


643—ANTIQUE ROMAN ARM CHEST. 


Richly and elegantly carved, in relief, “ Leda 
and the Swan,” on front panel; mythological heads 
on corners, sides, and centres; carved feet; base 
draped in flowers; has a lock and is in a fine 
state of preservation ; this beautiful and rich speci- 
men of the Italian Renaissance belonged to the 
Colonna family ; purchased in 1894 at the sale of 
the collection of Chevalier de Tavera, Austro- 
Hungarian Minister at Washington. 


644—S1Ix ITALIAN CARVED OAK LIBRARY CHAIRS. 
Reproductions of the antique. 


FINE OLD RUGS 


645—Kis-KELEM Ruc. 


Floriated design on gray ground; borders of 
black and yellow with detached flowers and 
symbols. 


Width, 4 feet 6 inches ; length, 6 feet 3 inches. 


646—ANTIQUE DAGHESTAN Mat. 
Medallion pattern. 
Width, 2 feet r inch; length, 2 feet 8 inches. 


647—ANTIQUE TURKISH Narrow RuG. 
Rose color panel. 
Width, 1 foot 10 inches; length, 3 feet 6 inches. 
C44 


648—ANTIQUE DAGHESTAN RuG. 
Black ground panel with archaic flower design 
in bright colors, red border with black and pink 
flowers. 


1 


Width, 2 feet 8 inches ; length, 5 feet 6 inches. 


649—ANTIQUE CASHMERE RUuG. 
Red ground with floral panels in light green 
and dark blue, white and blue border. 


Width, 3 feet 5 inches; length, 6 feet 9 inches. 


650—ANTIQUE DAGHESTAN RUG. 
Black ground centre with diamond shaped 
panels, black and white borders, 


Width, 3 feet 5 inches; length, 4 feet 3 inches. 


651—ANTIQUE DAGHESTAN PRAYER RUG. 
Black centre with star ornaments in red, blue, 
and white ; wide white border and outer border of 


black. 
Width, 2 feet 2 inches ; length, 4 feet 8 inches. 


652—GHIORDES PRAYER RUG. 

Red and white centre panel; wide yellow border 
with designs in various colors ; narrow white outer 
border, on which are detached flowers in various 
colors. 

Width, 3 feet 1 inch ; length, 4 feet. 


653—ANTIQUE DAGHESTAN RuG. 
Palm or “river loop” designs on black centre; 
turquoise blue ground and purple outer border. 
Width, 2 feet 10 inches ; length, 4 feet 3 inches. 
Ke) 145 


654—KEeELIM Rue. 
Panel designs in fine old colors. 
Width, 8 feet ; length, 4 feet 11 inches. 


655—DaGHESTAN Rue. 


Yellow centre with diamond medallions in vari- 
ous colors; red and black borders with star and 
trellis patterns. 


Width, 2 feet 9 inches; length, 5 feet 2 inches. 


656—ANTIQUE CASHMERE. 


Old red ground with patterns in dark blue and 


white. 
Width, 6 feet ; length, 9 feet 4 inches. 


657—ANTIQUE DAGHESTAN PRAYER RUG. 
White centre with floral and diamond patterns, 
red, black, and blue borders. 


Width, 3 feet 7 inches; length, 5 feet. 


658—ANTIQUE DAGHESTAN. 
Yellow centre with archaic designs in various 
colors ; wide white border and two narrow borders, 


Width, 3 feet 5 inches; length, 5 feet. 


659—SHIRVAN Ru. 
Black centre with floral and cross designs, with 
panels of red, green, yellow, and blue ; trellis pat- 


tern border. 
Width, 4 feet ; length, 4 feet 10 inches. 


660—UNIQUE ANTIQUE RUG. | 
Golden yellow ground with candelabra and 
floral design in red, black, rose, pink, and pale 
blue ; curiously designed border. 
Width, 3 feet 4 inches ; length, 5 feet 1 inch. 
146 


661—KELIM Ruc. 


Black ground, profusely covered with diamond- 
shaped patterns in various bright colors. 


Width, 5 feet ; length, 5 feet 7 inches. 


662—ANTIQUE SHIRVAN. 
Black centre with floral designs in colors ; brown 
ground borders. 


Width, 3 feet 7 inches ; length, 6 feet 5 inches. 


663—ANTIQUE PERSIAN: RuG. 
Silky texture; dark blue ground with various 
designs in finely combined colors. 


Width, 4 feet 3 inches; length, 5 feet 10 inches. 


664—ANTIQUE DAGHESTAN. 


Heavy pile, silky texture ; centre panel of pro- 
fuse diamond patterns in bright colors; three 
borders of archaic design. 


Width, 4 feet 9 inches; length, 8 feet. 


665—ANTIQUE BERGAMA RUG. 


Rich sapphire-blue centre, with bold floral pat- 
tern in red, green, yellow, and white ; wide white 
ground border and two narrow borders. 


Width, 5 feet 4 inches ; length, 7 feet. 


666—ANTIQUE SHIRVAN, 

Silky texture ; dark blue centre, profusely cov- 
ered with floriated patterns; red border, with 
palm-leaf designs. 

Width, 4 feet Io inches; length, 7 feet 7 inches. 
147 


667—ANTIQUE CAMEL’s-HAIR Lonc Ruc. 


Brown ground, with three white diamond- 
shaped panels; floriated and other patterns in 
various colors, with three borders. 


Width, 3 feet 5 inches; length, 8 feet 6 inches. 


668—CAMEL’S-HAIR ExTRA Lone Rue. 
Reddish-brown ground, with diamond panels 
and other designs in fine combination of colors. 


Width, 3 feet 4 inches; length, 15 feet 8 inches. 


669—ANTIQUE SHIRVAN LARGE RuG. 


Dark blue centre, with tree and floral designs 
in fine combination of colors ; conventional floral 
patterns on wide white ground border. 


Width, 5 feet 6 inches ; length, g feet 9 inches. 


670—ANTIQUE CAMEL’s-HAIR Ruc. 
Old gold ground, with various designs in red, 
pink, blue, and black ; five borders. 


Width, 4 feet 5 inches ; length, 9 feet 4 inches. 


671—ANTIQUE ANATOLIAN. 
Dark blue centre, with bold floral medallions 
in low tones ; plum color and brown borders. 


Width, 5 feet 5 inches ; length, 8 feet 3 inches. 


672—ANTIQUE SHIRAZ LonG RUG. 

Profusely covered with diamond-shaped and 
floral panels in various colors, yellow predom- 
inating. 

Width, 3 feet 2inches ; length, 18 feet 10 inches, 
148 


673—CAMEL’s-HAIR LONG Rug, 


Reddish brown ground with diamond-shaped 
panels and floriated patterns in various colors. 


Width, 3 feet 5 inches; length, 15 feet 4 inches, 


674— ANTIQUE DaGHESTAN Lonc RuG. 


Yellow centre with floral panels in bright col- 
ors ; red, white, and black borders 


Width, 3 feet 1 inch; length, 8 feet 8 inches. 


675—ANTIQUE BELUCHI Lone Rue. 


Black ground centre, floriated design in low 
tones; four borders. 


Width, 3 feet 1 inch; length, 13 feet. 


676—ANTIQUE DAGHESTAN RuG, 


Dark blue centre, with diamond-shaped panels ; 
wide and two narrow borders ; designs through- 
out in fine combination of color. 


Width, 3 feet 2 inches; length, 15 feet 5 inches. 


677—ANTIQUE SHIRVAN Lonc Ruc. 


Dark blue centre with conventional floral pat- 
terns in bright colors ; three borders, 


Width, 3 feet 7 inches ; length, 10 feet 8 inches. 


678—ANTIQUE DaGHESTAN Lone Rue, 


Dark blue centre, surrounded by borders of 
red, white and emerald green; various designs 
in richly combined colors. 


Width, 3 feet 6 inches ; length, 10 feet 3 inches. 


679—ANTIQUE SHIRVAN RuG. 
Dark blue centre panel with bold floriated de- 
signs in bright colors, 
Width, 3 feet 5 inches; length, 11 feet 6 inches. 
149 


680-—-ANTIQUE KHORASSAN Lone Rua. 


Dark brown centre with vine and floral pat- 
terns in low tones; three borders, with archaic 
designs in pink, red, and white. 


Width, 2 feet 10 inches; length, 14 feet 2 inches. 


681—ELEGANT SENNA RuG. 


Ivory white centre with intricate and profuse 
designs of trees, flowers, and birds in sapphire 
blue, jade green, red, yellow, and other harmoni- 
ous colors ; three narrow borders with palm-leaf 
and other designs on yellow and white ground. 


Width, 4 feet 11 inches ; length, 6 feet 6 inches, 


682—PERSIAN LARGE Rua. 


Dark blue centre, profusely covered with flori- 
ated designs in many colors, red, green, and white 
borders. 


Width, 6 feet 8 inches ; length, 13 feet 2 inches. 


683—ANTIQUE SHIRAZ LARGE RUG. 


Ivory white centre with bold floral designs in 
various colors ; red and blue borders. . 


Width, 6 feet 10 inches ; length, 15 feet 6 inches. 


684—CASHMERE LARGE RuG. 


Red ground with dark blue, jade green, and 
yellow panels ; black, red, and white borders, 


Width, 7 feet 9 inches ; length, 11 feet 2 inches, 


685—-TURKISH CARPET. 


Heavy pile, with light blue ground and red and 
dark blue panels; wide border of red and two 
narrow borders of dark blue. 


Width, t1 feet 6 inches ; length, 14 feet 6 inches. 
150 


| Width, : a ‘feet since rength, i feet 2 inches. 


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